Wednesday, November 19, 2014

Or nue silver disk in progress


 A lot depends on how the light falls on this kind of silverwork, where the shadows move.  It looks different from different directions.  I'm hoping to get the disk finished at this evening's stitch-in.




I'll decide which way up is best to applique it to the night time wilderness piece once it's ready.   My couching skills are improving, the edges of this disk better than the gold one.  The silver is a bit easier to pinch and redirect from the side, too.

After this is done and appliqued, I'll finish up the glasswing insect whose wings are done, and whose body will be beads stitched directly onto the wilderness piece, probably the night one.

Monday, November 17, 2014

Goldwork or nue in its place

The wilderness pieces continue, with the hope of finishing the three in the next few days, well, we'll see.

Here you see the or nue gold disk in place as a "sun" figure in the daytime wilderness piece.  



 

Still to come is one more critter to complete the piece. And there's a "moon" in silver and blue upcoming to go into the night time piece.  





At this point it's felt pieces stitched in place, waiting for the or nue, which I supposed, since it's silver, would be argent nue, but I don't think that's what they say.  

And again, that piece needs another critter to complete it.  I think both might benefit from a couple of random butterfly wing shapes, too, but we'll see how they work with the last critters in place.

Thursday, November 13, 2014

EarthStarBox watch this space....

My friend and one of the most creative people I ever knew, Mare Johnston, is cooking up a little something to introduce to us soon.

And just so's you know I am finding myself totally into this surprise thing that you will know more about eftsoons, I just wanted to show you some thinking that's happening in this studio, on the other side of the continent from hers!








Also I did want to state that I have not deserted my studio, stitching adventures notwithstanding.

I should add that she's a Sagittarian, too.  Just sayin'.

Sunday, November 9, 2014

Or nue in progress

Or nue, aka shaded goldwork, is rapidly becoming my raison d'etre! here's a small piece, which might either become a piece of jewelry or form a component in one of my wilderness pieces, which are still out there waiting for me!



This piece is 1.5 inches across, and the shapes I cut from felt which I designed and applied before covering them with goldwork, using the tacking down stitches to create the sense of shape and shade.  Great fun, and a lot of learning in this little work.

And since a dear friend spent the afternoon replacing my old broken hall light with a new LED fixture, a learning curve all around, I now have brilliant shadeless light in the hall, which I love, and I tried the photo in this new light, just to see how well it worked. Better than with my older dimmer lights, anyway.

And he gave me some bits of cactus which fell off a plant he was bringing home, to try out, since he has great faith in my ability to take cuttings and make practically anything grow (this is his faith, rather than a statement of fact).

So, a day of experiment all around. And another  friend just showed up with a banquet of food from her pujah, religious afternoon with many friends and food in attendance, because she wanted to include me.   

Wonderful items, none of which I can identify, but she put them in order of what goes with what, as a guide!  So tomorrow is another day of experiments, edible ones.  And there is an art component, too, since she made one of her fruit landscapes for the puja, and will send me pix when she remembers.

Thursday, November 6, 2014

Pins on Parade

So the pins are done.  The stitched bar pin is not quite ready for primetime, the gorilla having been a bit enthusiastic in the glue department, but it's all good learning.  See how transparent I am in my full disclosure?  Take that, Congress! not to mention State House..






 
However, all the others are up to par and ready for new homes, and I show them on different fabric backgrounds so you can see how they work -- on dark blue velvet, on cream boiled wool, and on multicolored knitted coat.

If you're interested, the triangular goldwork pin is $15 US plus $5 s. and h. to North America, have to advise on s. and h. further away than that, but I'd be glad to check.  

The round wooden pins actually are nicer in person than seen here, since they're dimensionally painted.  About  1.5 inches in diameter. They're each $12 plus $3 s. and h. same deal as above wrt other countries than North America. And no, sorry, don't do Paypal, my sales being too intermittent to get involved in anything other than a check made out to me!

All these pins, like everything else I do,  are one of a kind.

So there we have this latest adventure.  Oh, the Ganesh pin is still drying, pin newly applied, can't show you that in action just yet.

Follow up on the Upcycling of Goldwork

Here's the project I was eager to get on with while I was doing the hacks and upcycling yesterday.  




It's a shaded piece, which I designed as I went.  Felt stitched down in  a circle, about 1.5 inches in diameter, on fabric.  The idea is that the stitching down will be invisible, so that the gold shading will take over and you'll see an interesting series of contours, with light and shade.  You'll note that the stitching stops short of the outer edge. That's to allow for a circle of gold thread to finish the edge.  Then the completed stitching will be mounted on a wood disk so as to attach a pinback. At least that's the plan right now...

Later I'm off to the studio to take pix of the pins started yesterday, and you'll see how they came out.

Wednesday, November 5, 2014

Goldwork hacks and makeovers

So I worked on the or nue dragonfly for a while, before deciding that a. the design wasn't right for the technique,  b.  wondered if I should just unpick and repair, and then c. after unpicking, which took ages, decided I didn't want to spend precious time disguising a repair, time that could be spent on a new work.  And I had a new idea for stitching that I might as well get onto. More about that later.



Soooooo, I beaded around the edge of the stitched area, inserted a little feature of blue beads, cut out the whole area, as you see above, then backed it with card stock.  Now it's attached to the card with gorilla glue. Seen here drying under a heavy glass sheet.
Once dried, I can trim card and fabric together close to the beading before applying a pin to the back.  And it will be a nice little bar pin.




Then there were several other painted wood pins I did ages ago and had not yet put the pin mechanism on the back.  So I did that, while the gorilla was on the clock.




On a roll now, you know how it goes, I realized that one of the motifs on the trial piece I made when I was teaching myself goldwork would also make a nice pin, triangle about two inches on a side, nice dramatic pin.  So that's now cut out, gorilla'ed to card, and it's drying.  The glue seeping through around the sides will be all cut away in the finishing.




And I remembered the Lord Ganesh little figure off the gift box from Diwali, gorilla'ed him to a metallic blue painted wood disk.  At that point I ran out of wood disks!

So there you have it.  When an embroidery doesn't work, call in the wild animals and the tools and make it into something different!  I'll show you the results once the glue is dry.  If I like the results, every pin is one of a kind, I'll offer them on here at  nice modest prices for holiday planning.  

Ganesh is mine, though. 


Monday, November 3, 2014

An art trip, to Winterthur with stitching friends

To follow our adventure yesterday, go here

and if you'd like to know more about Winterthur, and to see some of its exhibits on line go here 

Enjoy it all!

Monday, October 27, 2014

Great Monday, with a present!

Constant Reader, Great Commenter and Generous Friend, Ash, sent me a surprise package, a trove of threads, hoop and frame, evenweave fabrics, threads and even  note the lovely Barbadian stamps.  The two on the right commemorate the 100th annie of the Panama Canal, I remember it well...



and a beautiful sunflower greeting to go with!  It's a two sided card, now on my fridge with a magnet that makes me think of a butterfly, must be in butterfly mode...





thank you so much Ash.  Yes, they will all find good homes, either in my work or  in work by my friends.  What a wonderful addition to my choices to work with.

Such a treat on a Monday morning!  I was just struggling with the setup for an upcoming stumpwork lacewing moth's wings -- two layers of hand dyed silk, tautened at 45 degrees to each other in the hoop, now firmly in place, wings drawn, two for each side, pix later when there's something to see. Using Jane Nicholas, great Aussie stitcher, the book of.   So it was great to take a break and look at presents!  And to reflect on the marvels of international sharing and learning.

Barbados! Panama Canal!  Australia!  My living room!  all together in here, yay.

Sunday, October 26, 2014

Wilderness night scene in progress

I've now attached the luna moth and the other night moth to our night scene.  I need at least one more critter here, and a couple more for the crocheted daytime scene one, since all the critters I made have migrated to the other two locations.  I'm just a helpless prawn in the face of this tide...



As you see, I refrained from stitching a body for the luna moth, since I'm making a suggestion of a moth, rather than a botanically exact representation, which would be a bit too literal for the purpose of this piece.  I did similarly with the blue butterfly on the daytime scene, and she looks light and interesting, so I continue to like that decision.

Monday, October 20, 2014

One Wilderness Tamed, more or less

I have managed to get the dragonfly and the lizard rounded up and the stitched grasses done, and some cutouts with brocade behind (and a dull gold colored silk for the backing, just so's to make it a bit solid), and here it is.  Framed, phew. 




 To say that the stumpwork wires were my friends is to state a total big fib.  Actually stitching the stumpwork pales in comparison to the difficulty of getting the wires to sit in the back where you want them, so the wings don't turn backward when you stop looking, and so they come out in the right order.

Anyway, here's my first stumpwork presentation, and the first of the three wilderness pieces.  The others are on silk and satin, so the stitching will be a different issue.  But they're competing with two pieces of goldwork for my attention at the moment.

And I right away see a couple of tiny things to fix, but taking it out of the frame and doing that isn't a big deal.  It's just not for today!

Sunday, October 19, 2014

Art the Beautiful Salutes Bygone Stitchers, very young ones

I went over to Princeton, to visit Morven this afternoon, and see the place in general, and in particular visit a huge exhibit of New Jersey samplers created by young girls at school in the late eighteenth to mid nineteenth centuries. The reason for the quirky title of the exhibit is that it's from a poem stitched into one of the samplers about the joys and skills of stitching.





I've lived about fifteen minutes from Morven, a national historic house, with occupants over the years including signers of the Declaration, several Governors of the State, and various movers and shakers.  Now it's a national site, open to the public as a historic destination.

And you know how it is, when something's in your back yard you tend not to get there and see it.  This has been the case with me and Morven since 1965, so I thought, well I'd better go.  And since people are coming in loads from all over the country, I really can't complain it's too far to drive.

So I did, go here and you can see around the place as well while you're there.  I took pix in the grounds, cameras not allowed  indoors, and had a fine old time wandering about.  

When I arrived there was a very jolly group who told me they were from the Sampler Guild of Loudoun, Virginia, always off somewhere to see stitchery, and "we love our trips!"  Well, yes, that was evident.

After they departed the place was very quiet, easy to see everything, at least I wished to be a few inches taller.  Everything was hung just a little high for me to see without craning, and I blessed the curators who also put some of these priceless samplers, from collectors all over the place, on tabletops with glass boxing them in, easy to see and study.  

Room after room of them on the walls of this old house, not the original house, that burned down a long time ago, but a pretty old rebuilding of it, all the same.  And a lot of great old furniture and dishes to admire.  And samplers hung as they might have been when they were first stitched.  Much better than a museum setting.

The history itself, aside from the amazement of seeing samplers created by ten year olds, just the sheer stitching, they didn't design them, is wonderful to see and study.  And so many of the names of the girls still exist in families living around here.  The Stocktons, whose house it was but who didn't make any samplers, are still around.  The Brittons whose name does appear in samplers, too, and Buckelews, and various other familiar ones to anyone who's been around these parts a while.

The exhibit was meticulously researched, and there's a catalog which you can get online at the Morven site I linked for you earlier,  if you're a sampler fiend and can't get to see these.  Plenty of historical notes and comments on the design.

What I found missing, though, was an appreciation of the sorts of stitches used, the techniques of stitching and where they got their materials, how they were spun and dyed,  and all that aspect that as a stitcher I'd have liked. But I expect my embroidery friends and I can deconstruct quite happily.  Most of the samplers are silk thread on linen fabric, beautiful stuff, very fine, and anyone who has worked in silk will tell you it's not for wimps.

I liked a lot of the outdoor features: the sundial,  maybe you can read the inscription, 




and the notice board with a bit of history and a page of Annis Stockton's recipe book.  While her husband was away fighting the Brits and being slung in gaol, and later signing the Declaration, she was keeping things going at home, as all the women did.  



Here we can see her recipes for French Rolls, Syllabub and Floating Island.

And I liked very much the old brick garden wall with the door in it. 





There still is a kitchen garden as well as a sitting garden, 





and the oldest tree on the property, probably dating back to the eighteenth century, it's pretty much had it now, except that it's hollow and would make a great habitat...I'm so tempted to go over secretly and put a couple of little modeled animals there, but that might be a federal crime.  Latter-day attempt at a Brit takeover by stealth art.. 

I thought you'd like to see what you see when you come up on foot to the house and around the grounds and if you sit on the porch looking out








All in all, a good time was had by me!

Saturday, October 18, 2014

Art at MCCC in honor of a faculty member

Long time since I took studio courses, and exhibited at this gallery, and I don't know the faculty any more, but this potter, Lyn Ports-Lopez, died very young, in August this year, and was truly talented.  Go here to learn more.

So I went today to honor her, really, and see the other faculty members' exhibits.  Not the strongest show, so I signed the visitors' book, and took only a couple of pix, including ceramics by the featured artist.  








Paul Mordetsky had a lovely charcoal drawing and a very good watercolor.  So I enjoyed what I could, had a couple of nibbles from the food table, and went for a stroll around the campus.

Some nice architectural design on this windswept campus, which really needs hundreds of people to bring it to life, but I never saw more than a handful at any one time, in the years I was there. 




 The Gallery's in that building on the left.



 
 But, for some celebratory reason, these balloons were waving about, in a what were they thinking sort of way




Little gazebos here and there.

And there's some great landscape design, too, since that's a specialty of the course offerings.  People come to have wedding pictures taken at various nooks around the campus.



And on the same property, producing renewable energy for the campus, are acres and acres of solar panels, which look oddly like lowslung greenhouses from a distance.

Interesting afternoon.

Stitching update, goldwork and wilderness adventures

After all my big talk about workshop work, and wilderness work, I thought I should at least show you a little something.  





As you may know, if you've done these forms of goldwork, the or nue aka shaded goldwork, seen here just started, see the dragonfly motif recurring (!)



and the stitching over string seen here, a fleur de lis motif, string mostly in place, goldwork couching just started,




are very slow methodical processes. 

The wilderness is a bit more sudden. And after two days of workshop and one day at home on the goldwork, I urgently needed to switch to the wilderness.




I stitched down the lizard into his new home, and after a bit more stitching of grasses and plants, some of which is already done, after I made the pic, the dragonfly will take up residence, too.  And after that another bunch of ideas I have in mind but not on needle yet. I must say I'm glad he's in place, really tired of whipping him in and out of his little baggie.

On the subject of design, you'll see that the lizard touches on three plants.  The dragonfly will probably do likewise, and may touch on the last plant the lizard touches, so as to lock the design together. 

But I will be very particular about the angle at which the dfly goes in, to activate the space between her and the lizard.  You note that the lizard draws your eye left to right and up a bit, because that's how he's looking, ready to notice the dfly, which will, in a way, cut that off, so you don't slide right off the side.  Your eye needs places where it will be stopped.  These diagonals provided by the stumpwork animals, will provide the relief from all the verticals of the grasses and flowers.

Later this afternoon, I'm off to see an art exhibit, someone else's work, yay, change from doing it myself,  and will duly report.


Tuesday, October 14, 2014

Wilderness, new arrivals and decisions, decisions

I just came across a wonderful little butterfly, from a treasure box from Judy T., a fine piece of beading on net, which really has to go into the night scene, since it might be a moth.  


 Closer in so you can see the new butterfly/moth better




 And here's how it sits in the whole piece. Along with the luna moth.  Not complete, more will happen, but not a lot, I think.



Then the dragonfly decided to move into the lizard's habitat, so the original work is losing its inhabitants and will need more! disregard the wires on the dragonfly -- they'll slip through the fabric and be secured at the back once we get there.  And she will probably be angled differently at that point.

Tomorrow I'm off to the goldwork adventure, pix later, so I'm leaving this project in nice shape to pick up and continue when I get back, no doubt with ten other projects in process.

Monday, October 13, 2014

Wilderness stitching spinoff continues, getting the habitat ready for the little lizard

He's actually quite a large lizard in this setting.  It's all relative.  Anyway, I've been trying out a few ideas here, as I stitch on the grassy areas in the foreground.  



 And here with the lizard in residence, but he may move before his final decision.



There may be some nice shreds of trailing shiny stuff from the tree areas later, like Spanish moss, trailing between the lizard and the viewer,  but meanwhile, I'm seeing how this goes.  And remembering that there will be a background of probably silk fabric, to emphasize the openness of the design. If I keep it open and don't fall prey to filling it in in a burst of enthusiasm and stitching.

And I'm finding that I'm working with slippery but pretty threads.  I loved the colors just what I wanted, and the texture nearly made me go spare. Some silk, some rayon. Finally I'm stopping long enough to find the wax and apply it.

As usual, ready, fire, aim, I waxed a couple of threads, passing it through between my thumb and the wax block, both ways, before checking out how to do it, and found, oh well, that was the right way to do it.  Just as well, really, since it was done, for better or worse.  


You'd be amazed at the improvement in the noise level around here, many fewer screams of rage because the thread is not knotting itself up on the back while I'm concentrating on the front. And when the thread has been on a card, it's kinked, and the wax smooths away the kinks nicely. The cats notice my irritation level has subsided, too.

And here's where we are.  I love ideas from blogistas about what might happen next, thank you Florence, for a great one, and I invite everyone, stitcher or not, to contribute.