Most of you know that I am a fiber-holic. If it has to do with fiber I want to know about it, play with it, embroider with it, and otherwise understand how it was made and how to use it to its best advantage. I embroidered and knitted when I was a child and became hooked early on. I have also read mysteries since I was a child.
I read Mary Monica Pulver's early mysteries where my medieval organization played a role. Then moved onto her Monica Ferris Needlework Store mysteries. I read Earlene Fowlers quilting mysteries and learned about the world of quilting. Then along came Maggie Sefton's knitting mysteries with patterns. I had taken a break from knitting for for a few years and her easy patterns were a way back to finding something I enjoyed. There are so many more writers out there that have given us a glimpse into the fiber or fiber related worlds while spinning a good yarn.
More recently I have become immersed in the world of Mystery Reader Writer Conventions. It has been a pleasure to listen to some of my favorite authors discourse on many different topics that help make their stories all the more fascinating for me. I have met many different authors, established ones and beginning ones, with whom I have have had short or sometimes long wonderful conversations; usually at the bar. I have been handed many book bags with new to me authors and had the opportunity to attend mini events to get even more books. Unfortunately I couldn't always bring home ALL THE BOOKS, but there is a drop off/pick up table that has introduced me to even more authors work.
Besides all the books, what really stands out for me is the friends I have made and the laughter I have enjoyed attending these events. The next big one for me is Murder at the Beach http://www.bouchercon2014.com Long Beach November 13-16, 2014. It promises to be big! There are 5 hotels all close to the event happenings. The attendees page is already close to 1000 registered and the line up of authors is awesome. I can't tell you all the fabulous plans underway, but it really promises to be a rollicking fun 4 days of happenings with so many panels and events that you will be hard pressed to choose what to do at any one time. I hope you will come join us for the fun, the people, and BOOKS!!!!!!!!!!!!
PS yes I take a half empty suitcase and UPS has shipping on site!
Monday, May 19, 2014
Tuesday, December 03, 2013
Musings on Creativity
One of my needlework groups, in particular my ANG chapter, had an interesting challenge that I opted into - Robin style. They gave us a piece of 14 ct canvas in cream, a line chart with 120 threads divided into sections of differing sizes, a few threads in the red/pink/purple range, some charts and said go. The design needed to be within the 120 thread square. The design theme was hearts. The threads were to all come from stash. 7 months to complete.
I was partially successful. Here is the process I went through:
Despite the guidelines, I did spend a lot of time staring at blank canvas. To start I stitched the border and then the lower 4 section lines. Gave myself a mental talking to - it is a practice piece (not like some of the amazing stitchers in my chapter whose every piece is award winning perfect). Also, I don't have the temperament to take my hobby and design it to the inth degree - for me it needs to flow from me.
Finally I jumped in with a couple of the predefined sections and put in some patterns. Yes I did modify the chart of sections.
The bargello hearts was easy. It was a pattern I liked and I had lots of threads that would work - or so I thought. I love silk but silk and canvas don't mix. Fortunately I keep a large number of cotton threads on hand for teaching basic embroidery and lucet so I dived into my teaching stash. I had been given a card of very velvet so used it to make a frame inside the section to give the area a finished look. Can I say now how much I hate having to strand each 6 thread section, then recombine and THEN lay the threads. Eventually you get into a rthyme but... and then there is the counting that is never my strong suit.
Issue 1 has now appeared - the base is heavy so the other areas need to balance.
Issue 2 - there is a line across the lower third that needs to not become a mental block. Unless you have a defined focus, the eyes should not rest on any one area, but move around the canvas. Hearts are great in this way, in that they are, in effect, arrows.
Then moved down left. There are hearts in there - outlined and then filled - over 1. I didn't like the look of all the open area so used a gauzy thread in straight lines to cover. Not sure I like the look - but it definitely makes for a 3D sense.
2 heart blocks up and left - one is a brick stitch pattern of laying one color with a heart bead on top. I wanted something that would be background but the final dimensions of the section don't work - too much height for the size bead. The other section is right and left gobelin background around the geometrically stitched heart using an overdyed thread. Tried to pickup some of the coloration from the bargello section.
One way to pull a piece together visually, is to use a limited palate of colors or threads. This resulted in more pink that I normally like, but at least it was a dusty pink. I pulled a range of threads and colors to start, and then moved the lesser ideal colors out. I tried to only pull from this group during the project and found I easily discarded most of the options until I had a palate that meshed fairly early in the process.
Right side is from one of the needlework magazines. The gold threads run all the way through the hearts so the wine and red overlay the gold. Liked the effect, but it does not show well in the photo.
Left section is one of the gauzy threads done in squares on angles. The buttons needed a background and I needed something to balance the red in the hearts on the right side. The buttons float a little bit more than I like. Maybe next time I will stretch the canvas threads and poke the shank through.
Top Left - is the same thread as the brick, but laid up/down in one swathe of thread. The bead is very flat and sits well over the thread. The bead is also very sheer and needed a light background.
Top Right - failed experiment. Many years ago there was a class where you cut the side to side canvas threads and folded them back. Then you used the up/down threads like you would for Indian Thread Beading. It worked sort of - beads worked but I could not get the definition I wanted. I then used a metallic thread that matched the dark of the bargello teal in straight stitches to mimic the upper left block background. The background is too heavy a color but the area is too fragile for me to take the threads out and replace them :(
Top box - repeat of the 2 versions of laid hearts. Again I needed something to pull the piece together. Repeating patterns and threads does this.
Center gold box - trammeled the threads. The thread is a 6 thread lightly twisted metallic. Using the whole 6 meters, untwisted the threads and laid them in each line - R to L and then L to R, over 1 stitch at each end. This mimics classic goldwork. Then using 2 strands of the gold, I couched, in a progressive pattern, each line in the top 1/3. The heart was then couched using the same count, but only over 2 threads, as the bargello below. The heart is a metallic overdye. The goal was to couch the whole section and "float" the hearts in a line from top R to lower L - maybe someday. The biggest problem with this idea was to find sufficient coverage of the canvas. I think next time I might paint the canvas first so uncovered areas are not so blatant.
Still want to put in some version of a background for the top and R side box. Back to the I don't like naked canvas. Now to find the umph to finish off the bits or fix the areas the are blatantly wrong to my eye.
I was partially successful. Here is the process I went through:
Despite the guidelines, I did spend a lot of time staring at blank canvas. To start I stitched the border and then the lower 4 section lines. Gave myself a mental talking to - it is a practice piece (not like some of the amazing stitchers in my chapter whose every piece is award winning perfect). Also, I don't have the temperament to take my hobby and design it to the inth degree - for me it needs to flow from me.
Finally I jumped in with a couple of the predefined sections and put in some patterns. Yes I did modify the chart of sections.
The bargello hearts was easy. It was a pattern I liked and I had lots of threads that would work - or so I thought. I love silk but silk and canvas don't mix. Fortunately I keep a large number of cotton threads on hand for teaching basic embroidery and lucet so I dived into my teaching stash. I had been given a card of very velvet so used it to make a frame inside the section to give the area a finished look. Can I say now how much I hate having to strand each 6 thread section, then recombine and THEN lay the threads. Eventually you get into a rthyme but... and then there is the counting that is never my strong suit.
Issue 1 has now appeared - the base is heavy so the other areas need to balance.
Issue 2 - there is a line across the lower third that needs to not become a mental block. Unless you have a defined focus, the eyes should not rest on any one area, but move around the canvas. Hearts are great in this way, in that they are, in effect, arrows.
Then moved down left. There are hearts in there - outlined and then filled - over 1. I didn't like the look of all the open area so used a gauzy thread in straight lines to cover. Not sure I like the look - but it definitely makes for a 3D sense.
2 heart blocks up and left - one is a brick stitch pattern of laying one color with a heart bead on top. I wanted something that would be background but the final dimensions of the section don't work - too much height for the size bead. The other section is right and left gobelin background around the geometrically stitched heart using an overdyed thread. Tried to pickup some of the coloration from the bargello section.
One way to pull a piece together visually, is to use a limited palate of colors or threads. This resulted in more pink that I normally like, but at least it was a dusty pink. I pulled a range of threads and colors to start, and then moved the lesser ideal colors out. I tried to only pull from this group during the project and found I easily discarded most of the options until I had a palate that meshed fairly early in the process.
Right side is from one of the needlework magazines. The gold threads run all the way through the hearts so the wine and red overlay the gold. Liked the effect, but it does not show well in the photo.
Left section is one of the gauzy threads done in squares on angles. The buttons needed a background and I needed something to balance the red in the hearts on the right side. The buttons float a little bit more than I like. Maybe next time I will stretch the canvas threads and poke the shank through.
Top Left - is the same thread as the brick, but laid up/down in one swathe of thread. The bead is very flat and sits well over the thread. The bead is also very sheer and needed a light background.
Top Right - failed experiment. Many years ago there was a class where you cut the side to side canvas threads and folded them back. Then you used the up/down threads like you would for Indian Thread Beading. It worked sort of - beads worked but I could not get the definition I wanted. I then used a metallic thread that matched the dark of the bargello teal in straight stitches to mimic the upper left block background. The background is too heavy a color but the area is too fragile for me to take the threads out and replace them :(
Top box - repeat of the 2 versions of laid hearts. Again I needed something to pull the piece together. Repeating patterns and threads does this.
Center gold box - trammeled the threads. The thread is a 6 thread lightly twisted metallic. Using the whole 6 meters, untwisted the threads and laid them in each line - R to L and then L to R, over 1 stitch at each end. This mimics classic goldwork. Then using 2 strands of the gold, I couched, in a progressive pattern, each line in the top 1/3. The heart was then couched using the same count, but only over 2 threads, as the bargello below. The heart is a metallic overdye. The goal was to couch the whole section and "float" the hearts in a line from top R to lower L - maybe someday. The biggest problem with this idea was to find sufficient coverage of the canvas. I think next time I might paint the canvas first so uncovered areas are not so blatant.
Still want to put in some version of a background for the top and R side box. Back to the I don't like naked canvas. Now to find the umph to finish off the bits or fix the areas the are blatantly wrong to my eye.
Friday, November 15, 2013
Finally Getting My Stitching Mojo Back - what I did this weekend
For the past 18 months I have been in a bit of a funk about stitching. When I stitched it had to be something that the tension was pretty defined and preferably had a plan in place. Surface embroidery took a back seat - physical tension affects stitching tension. But stitching is a part of my life that is important so I was intent on finding a way to make some lemonade .
There are several blog posts whirling in my brain about what I learned and am now able to share with you. I hope the insights help. First up: What I did this weekend.
___________________________
All classes given at National Seminars, whether EGA or ANG, need to go through a trial run called a pilot. The teacher uses the materials identified for the kit and charges for the kit. The instructions are handed out. The teacher usually visits a chapter or area not their own so there is a lack of overt familiarity. The teacher may charge for transportation and expenses, but not a teaching fee. If it is supposed to be a 4 day class, then the pilot is 4 days, etc. The group of students taking the class provide feedback on everything - written materials, quantity and quality of materials, flow of the information, and so much more.
I have participated in 3 of these classes now. Each has been a very powerful and fun experience. When done right, the class becomes very collaborative in its effort to make the final product the best it can be. I have learned lots of techniques while interacting with a number of excellent stitchers.
The first one I did was with Lois Kershner. It was Blue Bonnet Homestead. Lois's instructions are excellent, but like anything it is hard to ensure that what you intend to convey in a step is clear. There were a few nits but the most interesting for me was the choice and use of threads. One thread was plied and we were to only use one of the 2 plys. I could do this by lessoning my tension, but my fellow stitchers had tension issues and the thread frayed badly. It was important for the teacher to replace the thread with something that wasn't stripped down and would take the hard tension of canvas stitchers.
The second class was with Michelle Roberts. It was an interesting look at using couching threads on canvas to underlay bargello. The design became a decorated box. The "ribbons" on the box were actually a method of couched stitching in a brick pattern. The "wrapping paper" was the bargello pattern over the metallic threads. Then the top of the box was decorated with metal threads similar to making a button but very 3D and then to be placed on the finished top of the box. Fascinating and very new ways of using classic metal thread techniques.
One of the best parts for me was seeing that the teacher had sprayed the canvas with spray paint so that any canvas that showed was not obvious. I HATE blank canvas. It is one of the reasons that I don't do a lot of canvas work. Here was a way to overcome my main obstacle!
This last weekend was a class with Marie Campbell. The class was a pilot for Turquoise Trailing - a bangle bracelet done in bead embroidery and being taught at the upcoming 2014 EGA National in Pheonix. I have done some bead embroidery, but not a lot. What I hadn't expected was that I would need to basically design my own bracelet. Yes I could have followed what the teacher did, but each package of cabochons was a bit different and necessitated some rework anyway. I had signed up for turquoise since the options were turquoise or warm pallette/orange/red. Since Marie had brought extras, I actually chose lapiz and lavender. Yes I will post pics when I am done.
It was a tough group of students. I think I was the least experienced of the beaders. This meant I could be useful in asking the "newbie" questions. It also, hopefully, brought home that even experienced stitchers can benefit from a quick insightful review of materials and techniques. For example, we were given 12 bags of beads. If I am "designing" my piece knowing what each type of bead does best or can be combined to do something special, really helps. Also, since some students are paralyzed when confronted with the need to design something, giving the student tools to work with, makes the experience easier.
We all stall when confronted with a blank or nearly blank canvas. Our mind gives us either too many ideas or too few. Some people can draw and some can't, so saying draw it out is NOT helpful. However, if you say draw your "go to" basic form - round, oval, square, swirl, paisley, etc. puts pictures into the brain that can translate to pencil even for those of us who don't draw. Saying layer from high to low and low to high in your bead structure also gives creative help.
I learned a lot about beading this weekend. I also reminded myself of what I am really good at - I am an idea person. I joke that people keep me around because I have good ideas, but that is true and hopefully helps me be of value to others and myself.
There are several blog posts whirling in my brain about what I learned and am now able to share with you. I hope the insights help. First up: What I did this weekend.
___________________________
All classes given at National Seminars, whether EGA or ANG, need to go through a trial run called a pilot. The teacher uses the materials identified for the kit and charges for the kit. The instructions are handed out. The teacher usually visits a chapter or area not their own so there is a lack of overt familiarity. The teacher may charge for transportation and expenses, but not a teaching fee. If it is supposed to be a 4 day class, then the pilot is 4 days, etc. The group of students taking the class provide feedback on everything - written materials, quantity and quality of materials, flow of the information, and so much more.
I have participated in 3 of these classes now. Each has been a very powerful and fun experience. When done right, the class becomes very collaborative in its effort to make the final product the best it can be. I have learned lots of techniques while interacting with a number of excellent stitchers.
The first one I did was with Lois Kershner. It was Blue Bonnet Homestead. Lois's instructions are excellent, but like anything it is hard to ensure that what you intend to convey in a step is clear. There were a few nits but the most interesting for me was the choice and use of threads. One thread was plied and we were to only use one of the 2 plys. I could do this by lessoning my tension, but my fellow stitchers had tension issues and the thread frayed badly. It was important for the teacher to replace the thread with something that wasn't stripped down and would take the hard tension of canvas stitchers.
The second class was with Michelle Roberts. It was an interesting look at using couching threads on canvas to underlay bargello. The design became a decorated box. The "ribbons" on the box were actually a method of couched stitching in a brick pattern. The "wrapping paper" was the bargello pattern over the metallic threads. Then the top of the box was decorated with metal threads similar to making a button but very 3D and then to be placed on the finished top of the box. Fascinating and very new ways of using classic metal thread techniques.
One of the best parts for me was seeing that the teacher had sprayed the canvas with spray paint so that any canvas that showed was not obvious. I HATE blank canvas. It is one of the reasons that I don't do a lot of canvas work. Here was a way to overcome my main obstacle!
This last weekend was a class with Marie Campbell. The class was a pilot for Turquoise Trailing - a bangle bracelet done in bead embroidery and being taught at the upcoming 2014 EGA National in Pheonix. I have done some bead embroidery, but not a lot. What I hadn't expected was that I would need to basically design my own bracelet. Yes I could have followed what the teacher did, but each package of cabochons was a bit different and necessitated some rework anyway. I had signed up for turquoise since the options were turquoise or warm pallette/orange/red. Since Marie had brought extras, I actually chose lapiz and lavender. Yes I will post pics when I am done.
It was a tough group of students. I think I was the least experienced of the beaders. This meant I could be useful in asking the "newbie" questions. It also, hopefully, brought home that even experienced stitchers can benefit from a quick insightful review of materials and techniques. For example, we were given 12 bags of beads. If I am "designing" my piece knowing what each type of bead does best or can be combined to do something special, really helps. Also, since some students are paralyzed when confronted with the need to design something, giving the student tools to work with, makes the experience easier.
We all stall when confronted with a blank or nearly blank canvas. Our mind gives us either too many ideas or too few. Some people can draw and some can't, so saying draw it out is NOT helpful. However, if you say draw your "go to" basic form - round, oval, square, swirl, paisley, etc. puts pictures into the brain that can translate to pencil even for those of us who don't draw. Saying layer from high to low and low to high in your bead structure also gives creative help.
I learned a lot about beading this weekend. I also reminded myself of what I am really good at - I am an idea person. I joke that people keep me around because I have good ideas, but that is true and hopefully helps me be of value to others and myself.
Saturday, May 25, 2013
It is all about the context
My mentor Linn Skinner used to emphasize that needlework did not happen in a vacuum. As history unfolds, economics change, and discoveries happen so needlework reflects these changes and values.
One of her good friends and needlework exhibit show partner, was a retired Deacon from Durham Cathedral. Linn was fascinated by the Durham textiles and talked of them often.
For those in needlework history circles, we know Durham as housing the remains and textiles of St. Cuthbert. The vestments, a maniple, stole and girdle, are probably the best preserved examples of Anglo Saxon Embroidery. They date from the early 10th C. They were probably made in Winchester which was a center for both embroidery and illumination at that time. The figures on the maniple look to be very similar in style to the illuminations of that time and may have have been drawn on the fabric by the manuscript artists.
The textiles show a form of surface couching which has come to be known as Cuthbert couching that is done with a metal thread and a silk thread. The Cuthbert couching is done with an interlocking stitch. It is done on perpendicular lines along the warp threads. The Burlington Magazine for Connoisseurs - Vol. 23, No. 121 (April 1913) has an article "S. Cuthbert's Stole and Maniple at Durham", by G. Baldwin Brown and Archibald Christie. It contains full pictures and descriptions of the items and the stitching. The article also supposes that the purpose of the locking stitch was to hold onto the base fabric as well as each next stitch to create a net effect. It goes on to note that other extant items from the same time period using linen base and underside couching are now (1913) falling apart.
For the Cuthbert pieces it was a very high quality fine spun gold thread and couched down with a red silk thread. The stitches were done at a gauge of approximately 14 to inch. The base fabric was a silk net with a count of 56 x 56 threads to the inch. This put the gold threads at a ration of 2:1 and the couching stitches at a ration of 1:4 (Relics of St. Cuthbert by CF Battiscombe) Examples of surface, underside and Cuthbert couching show the differences in effect achieved by each method.
Aside from the remarkable couching the remaining embroidery was done in split stitch and outline stitch in silk. The colors of the silk threads are quite varied - dark brown and dark green outlines, fill stitches of blue-green, purple-red, various pinks, sage green, and purple-brown; among others.
It was recently announced that some one in the year 1140 wrote and compiled recipes for both food and medicine at Durham Cathedral's monastery. Students at Durham University are studying these recipes and doing some practical testing to create a feast. The recipes are diverse and include recipes from what is now France. The spicing through out the book includes parsley, sage, pepper, garlic, mustard, ginger, and coriander. All of which make great dyes as well.
No nothing happens in a vacuum. We are now learning more about the time period and can better understand the surrounding factors that play into the needlework. Linn would have been pleased.
One of her good friends and needlework exhibit show partner, was a retired Deacon from Durham Cathedral. Linn was fascinated by the Durham textiles and talked of them often.
For those in needlework history circles, we know Durham as housing the remains and textiles of St. Cuthbert. The vestments, a maniple, stole and girdle, are probably the best preserved examples of Anglo Saxon Embroidery. They date from the early 10th C. They were probably made in Winchester which was a center for both embroidery and illumination at that time. The figures on the maniple look to be very similar in style to the illuminations of that time and may have have been drawn on the fabric by the manuscript artists.
The textiles show a form of surface couching which has come to be known as Cuthbert couching that is done with a metal thread and a silk thread. The Cuthbert couching is done with an interlocking stitch. It is done on perpendicular lines along the warp threads. The Burlington Magazine for Connoisseurs - Vol. 23, No. 121 (April 1913) has an article "S. Cuthbert's Stole and Maniple at Durham", by G. Baldwin Brown and Archibald Christie. It contains full pictures and descriptions of the items and the stitching. The article also supposes that the purpose of the locking stitch was to hold onto the base fabric as well as each next stitch to create a net effect. It goes on to note that other extant items from the same time period using linen base and underside couching are now (1913) falling apart.
For the Cuthbert pieces it was a very high quality fine spun gold thread and couched down with a red silk thread. The stitches were done at a gauge of approximately 14 to inch. The base fabric was a silk net with a count of 56 x 56 threads to the inch. This put the gold threads at a ration of 2:1 and the couching stitches at a ration of 1:4 (Relics of St. Cuthbert by CF Battiscombe) Examples of surface, underside and Cuthbert couching show the differences in effect achieved by each method.
Aside from the remarkable couching the remaining embroidery was done in split stitch and outline stitch in silk. The colors of the silk threads are quite varied - dark brown and dark green outlines, fill stitches of blue-green, purple-red, various pinks, sage green, and purple-brown; among others.
It was recently announced that some one in the year 1140 wrote and compiled recipes for both food and medicine at Durham Cathedral's monastery. Students at Durham University are studying these recipes and doing some practical testing to create a feast. The recipes are diverse and include recipes from what is now France. The spicing through out the book includes parsley, sage, pepper, garlic, mustard, ginger, and coriander. All of which make great dyes as well.
No nothing happens in a vacuum. We are now learning more about the time period and can better understand the surrounding factors that play into the needlework. Linn would have been pleased.
Saturday, June 30, 2012
Reminiscing About Linn Ruth Skinner
This last week I was at the Embroiderers Guild of America (EGA) Region Seminar for the Greater Pacific Region (GPR) in Tacoma Washington when I received the news of Linn's passing. She was my mentor, teacher and friend. I would not have come so far in my career in embroidery if not for her. I know that there are many of us who would say the same thing - thank-you Linn.
In my quest during the early 1990's to learn embroidery, I took many classes. By 1997/8 I was frustrated with my work and began looking outside of my historic and costume circles for sources. I ran across Linn's Blackwork Samplers on ebay. We began corresponding and when I was in the Los Angeles area visiting my inlaws in 1998, Linn came to visit me.
I showed her my work and we chatted. Her response to one goldwork piece was priceless "oh dear, you did a lovely job, better than I could have done considering they gave you all the wrong materials." I was so relieved -- it was not me. There in started our friendship. She taught me that well done needlework of any kind, or any fiber art for that matter, was about learning and controlling the tension in the materials used.
I took a lot of classes from Linn through CATS and visited when we could get some time together. She encouraged me to teach in my historical and costuming circles. She was patient with me, gave me charts of embroidered bands and stitch diagrams, and didn't grimace too much when I parroted her words. Soon with her support and encouragement my teaching took wing.
Linn was a frequent guest in my house as I hosted classes with her as teacher. Her research at key places in England, that we could only envy, was shared liberally with us. She taught us that needlework designs and materials did not evolve in a vacuum, but were integral parts of the flow of history. Her personal research focused on Model Books - those early needlework and design books that were first printed in the 16th C. She was in the process of tracking down all the known examples and had found even a few that Lotz had not identified.
Her love of needlework and of teaching needlework led her to focus on collecting examples of very basic simple school girl samplers and projects, teaching books, and their related ephemera. For Linn it was the simplest stitch done well, that was a joy.
Linn was one of the most generous people I know. Generous with her time, knowledge, resources, and herself. She was an enthusiastic supporter of any and all needlework groups. She taught for EGA on the local level in a number of different regions. She taught at Spirit of Cross Stitch and CATS. She taught for the Pomegranate Guild and my historical needlework guild. For many of these she designed special programs to focus on their interests and help them take a step into the next level of embroidery.
Linn blogged about her variety of interests. Her insight on many topics, her thoughtful comments on many of our blogs, and her dry sense of humor made reading anything she wrote a delight. She even got me blogging in 2003.
There were few things that got Linn more riled up than copyright infringement in the needlework circles. Here is the quintessential Linn. In 2003 she testified before a House Committee. You can find her testimony here. I encourage everyone who loves needlework to read her testimony - it is eye opening!
Linn was a fabulous mentor to many of the ladies, and men, I have come to know in a variety of needlework and its supporting forums. She helped promote beginning designers. She helped many of us to begin teaching or broaden our focus. She taught us all to question, learn and grow with the historical foundations of our work. Those of us fortunate enough to have spent a little or a lot of time with her will miss her.
In my quest during the early 1990's to learn embroidery, I took many classes. By 1997/8 I was frustrated with my work and began looking outside of my historic and costume circles for sources. I ran across Linn's Blackwork Samplers on ebay. We began corresponding and when I was in the Los Angeles area visiting my inlaws in 1998, Linn came to visit me.
I showed her my work and we chatted. Her response to one goldwork piece was priceless "oh dear, you did a lovely job, better than I could have done considering they gave you all the wrong materials." I was so relieved -- it was not me. There in started our friendship. She taught me that well done needlework of any kind, or any fiber art for that matter, was about learning and controlling the tension in the materials used.
I took a lot of classes from Linn through CATS and visited when we could get some time together. She encouraged me to teach in my historical and costuming circles. She was patient with me, gave me charts of embroidered bands and stitch diagrams, and didn't grimace too much when I parroted her words. Soon with her support and encouragement my teaching took wing.
Linn was a frequent guest in my house as I hosted classes with her as teacher. Her research at key places in England, that we could only envy, was shared liberally with us. She taught us that needlework designs and materials did not evolve in a vacuum, but were integral parts of the flow of history. Her personal research focused on Model Books - those early needlework and design books that were first printed in the 16th C. She was in the process of tracking down all the known examples and had found even a few that Lotz had not identified.
Her love of needlework and of teaching needlework led her to focus on collecting examples of very basic simple school girl samplers and projects, teaching books, and their related ephemera. For Linn it was the simplest stitch done well, that was a joy.
Linn was one of the most generous people I know. Generous with her time, knowledge, resources, and herself. She was an enthusiastic supporter of any and all needlework groups. She taught for EGA on the local level in a number of different regions. She taught at Spirit of Cross Stitch and CATS. She taught for the Pomegranate Guild and my historical needlework guild. For many of these she designed special programs to focus on their interests and help them take a step into the next level of embroidery.
Linn blogged about her variety of interests. Her insight on many topics, her thoughtful comments on many of our blogs, and her dry sense of humor made reading anything she wrote a delight. She even got me blogging in 2003.
There were few things that got Linn more riled up than copyright infringement in the needlework circles. Here is the quintessential Linn. In 2003 she testified before a House Committee. You can find her testimony here. I encourage everyone who loves needlework to read her testimony - it is eye opening!
Linn was a fabulous mentor to many of the ladies, and men, I have come to know in a variety of needlework and its supporting forums. She helped promote beginning designers. She helped many of us to begin teaching or broaden our focus. She taught us all to question, learn and grow with the historical foundations of our work. Those of us fortunate enough to have spent a little or a lot of time with her will miss her.
Monday, April 23, 2012
More on Books
Since I like to do historical embroidery, some of you have asked me about the 2 books put out by Jacqui Carey. What follows is MY personal observations. In short - if you do Elizabethan Embroidery you need these books.
In 2007, Phillipa Turnbull (http://crewelworld.com) put together a dream embroidery event with Jane Lemon and Jacqui Carey. During the week of instruction we walked through all the steps to make an Elizabethan Sweetbag. Jacqui shared some of her research with us during the week and we visited some of her haunts during a couple weeks of travel. We encouraged her to publish her photos -- the detail is amazing -- and her insights. While I don't always agree with her conclusions, the opportunity to see the items in such high resolution photos is not an opportunity to be missed.
Her first book in 2009 Sweet Bags: an Investigation into 16th and 17th Century needlework is filled with photos of the 35 bags she surveyed. Many of the bags are not in great shape which helps us understand the underlying structure, stitches, and materials of the bags. She was able to photograph insides of bags as well. The cover of the book is the sweet bag which looks modern due to the modern materials, but don't let this keep you from the content of the book. All the elements in the bag are found on various bags including one from the Burrell collection that she shows in the book.
Jacqui's second book Elizabethan Stitches A Guide to Historic English Needlework again gives us wonderful detailed photographs to study. Unfortunately not all the items she mentions as case studies are included. Much of this book is like reverse engineering - you start with what exists and then try to figure out how it was made to happen. Some of this is deduced from holes in the fabric. Some is from the detailed photos front and back which allowed her to trace the lines. Jacqui has a perfect background for doing this reverse braid engineering and we can all be thankful that she brought out this book to give us insight into stitches that were not documented in either Victorian or modern embroidery books. I look forward to playing with the stitches.
At the beginning, I mentioned that I don't always agree with her conclusions. For me, some of her diagrams are reversed or upside down to the way I tend to work some of the better known stitches. I would suggest trying the stitches her way and then experiment to determine which works best for you.
In 2007, Phillipa Turnbull (http://crewelworld.com) put together a dream embroidery event with Jane Lemon and Jacqui Carey. During the week of instruction we walked through all the steps to make an Elizabethan Sweetbag. Jacqui shared some of her research with us during the week and we visited some of her haunts during a couple weeks of travel. We encouraged her to publish her photos -- the detail is amazing -- and her insights. While I don't always agree with her conclusions, the opportunity to see the items in such high resolution photos is not an opportunity to be missed.
Her first book in 2009 Sweet Bags: an Investigation into 16th and 17th Century needlework is filled with photos of the 35 bags she surveyed. Many of the bags are not in great shape which helps us understand the underlying structure, stitches, and materials of the bags. She was able to photograph insides of bags as well. The cover of the book is the sweet bag which looks modern due to the modern materials, but don't let this keep you from the content of the book. All the elements in the bag are found on various bags including one from the Burrell collection that she shows in the book.
Jacqui's second book Elizabethan Stitches A Guide to Historic English Needlework again gives us wonderful detailed photographs to study. Unfortunately not all the items she mentions as case studies are included. Much of this book is like reverse engineering - you start with what exists and then try to figure out how it was made to happen. Some of this is deduced from holes in the fabric. Some is from the detailed photos front and back which allowed her to trace the lines. Jacqui has a perfect background for doing this reverse braid engineering and we can all be thankful that she brought out this book to give us insight into stitches that were not documented in either Victorian or modern embroidery books. I look forward to playing with the stitches.
At the beginning, I mentioned that I don't always agree with her conclusions. For me, some of her diagrams are reversed or upside down to the way I tend to work some of the better known stitches. I would suggest trying the stitches her way and then experiment to determine which works best for you.
Thursday, October 06, 2011
The Right Tools - Mellore for Goldwork
Mellore -- This tool is used primarily in traditional goldwork. When you need to nudge a thread into place, use the mellore. When you need to make the stiff gold bend into a nice tight turn, use the mellore. When you need to straighten a recalcitrant thread, use the mellore.
The sharp point can be used like an awl but mostly the edges of the mellore are used to persuade the stiff metal threads to behave. The edges are gently curved to allow the persuasion without damaging the fragile metal threads.
My mellore is from the Royal School and is sterling silver. I had a hole drilled in the end to allow me to put a lanyard through to attach it to my kit. I also had it engraved with my initials; as a class room full of mellores can lead to them wandering around. It is my third hand and my goldwork would not be the same without it.
Wednesday, August 03, 2011
Costume College Recap & 15th Anniversary
Details on my LJ since most of my costuming friends are there. I have pictures of Will and I and a bit about our activities. Enjoy!
http://broider-barones.livejournal.com/
http://broider-barones.livejournal.com/
Monday, July 04, 2011
Running with Fiber
Running fast these days - but what's new with that :)
I am trying to take a fiber break every day - knit, embroider, etc.
Had a blast at the Griffin Dyeworks Retreat. We made the right choice to motel even with the 20 minute drive to site. My sinuses, my body, and my general diet health was better by having options not available at site. Even managed to get Will excited about the dyeing :) Drove down Thursday - Fri/Sat/Sun went to camp :) - Sun evening family time with Will's Mom - home Monday. Nice amount of time really away!
Tie Dye Indigo - can't keep my hands out of the dye pots and overdyeing is even better :)
Cochineal - LOVE the color you can get
Mushroom - who knew about the reds and golds, but I was late to the party and all that was left was brown :(
Lichen - one was a yellow/gold and the other yellow/green that is a brilliant chartreuse.
Chemical dyes - using resists, overdyes, and "dust dyes". I now know how most of the colored roving I buy has been done. I know how to choose better and when it is worth paying the $$ or doing it myself. I also know more about blending the roving to spin.
I am not a chemist so having dye pots I can just play in rocks!
Learned to spin thick & thin intentionally and add in additional "accent" threads.
More Pictures on Facebook
I am trying to take a fiber break every day - knit, embroider, etc.
Had a blast at the Griffin Dyeworks Retreat. We made the right choice to motel even with the 20 minute drive to site. My sinuses, my body, and my general diet health was better by having options not available at site. Even managed to get Will excited about the dyeing :) Drove down Thursday - Fri/Sat/Sun went to camp :) - Sun evening family time with Will's Mom - home Monday. Nice amount of time really away!
Tie Dye Indigo - can't keep my hands out of the dye pots and overdyeing is even better :)
Cochineal - LOVE the color you can get
Mushroom - who knew about the reds and golds, but I was late to the party and all that was left was brown :(Lichen - one was a yellow/gold and the other yellow/green that is a brilliant chartreuse.
Chemical dyes - using resists, overdyes, and "dust dyes". I now know how most of the colored roving I buy has been done. I know how to choose better and when it is worth paying the $$ or doing it myself. I also know more about blending the roving to spin.
I am not a chemist so having dye pots I can just play in rocks!
Learned to spin thick & thin intentionally and add in additional "accent" threads.
More Pictures on Facebook
Sunday, May 08, 2011
The Right Tools - Needles for Embroidery
One of the things I don't get asked is what are the right tools. The right tools and the right materials make embroidery fun and a whole lot easier. Makes me wonder when I see people "just making do" or look at a needle curiously when I put it into a kit.
The Right Needle for the Job:
Not so long ago I would just pick up the needle that felt right or could make do for the job at hand. No longer! There is a lot to learn about needles - the shaft diameter, overall length of the needle, the eye type, etc. Just as having the "wrong" end of the thread in your needle makes for knots, having the wrong eye on the needle or wrong diameter for the needle, makes passing the thread through your fabric harder or destructive to your thread.
Some of the learning comes from experience. However, there is one tool which I think can help. As most of you know, I usually don't endorse anything but there are exceptions and this is one. The Valley Quail Chapter of EGA puts out a Needle Index. This spiral bound book has information about most types of needles - pictures of them so you can determine their number/size, words about what they do best, and a piece of felt to place your needles. It runs under $10 and many local needlework shops carry them. Or you can get them from Needle In a Haystack .
The other thing I am quickly learning is that the quality of the needle makes a difference. While I like gold or titanium needles, they are not as necessary to me as a well made steel needle. Yes I used to buy "cheap" needles for kits, but not any longer. The cheap needles wear on your thread, have burrs which marr the fabric, and dull faster. Unfortunately some of the larger needle companies have taken to outsourcing the production of their needles. Now I look at each package to make sure that they are made in England or France.
The one exception is the handmade and specialty Japanese needles. These are a true luxury. In the US they are available through the Japanese Embroidery Center . They too have very specific jobs which they perform beautifully if you are doing certain types of goldwork or fine silk "painting" embroidery.
As you may have guessed by now, this will be a periodic series of columns about tools. If you are curious about a particular tool or type of embroidery and its tools - leave a comment. Hopefully this series will help some of you overcome issues which have kept your embroidery from being the best it can be.
The Right Needle for the Job:
Not so long ago I would just pick up the needle that felt right or could make do for the job at hand. No longer! There is a lot to learn about needles - the shaft diameter, overall length of the needle, the eye type, etc. Just as having the "wrong" end of the thread in your needle makes for knots, having the wrong eye on the needle or wrong diameter for the needle, makes passing the thread through your fabric harder or destructive to your thread.
Some of the learning comes from experience. However, there is one tool which I think can help. As most of you know, I usually don't endorse anything but there are exceptions and this is one. The Valley Quail Chapter of EGA puts out a Needle Index. This spiral bound book has information about most types of needles - pictures of them so you can determine their number/size, words about what they do best, and a piece of felt to place your needles. It runs under $10 and many local needlework shops carry them. Or you can get them from Needle In a Haystack .
The other thing I am quickly learning is that the quality of the needle makes a difference. While I like gold or titanium needles, they are not as necessary to me as a well made steel needle. Yes I used to buy "cheap" needles for kits, but not any longer. The cheap needles wear on your thread, have burrs which marr the fabric, and dull faster. Unfortunately some of the larger needle companies have taken to outsourcing the production of their needles. Now I look at each package to make sure that they are made in England or France.
The one exception is the handmade and specialty Japanese needles. These are a true luxury. In the US they are available through the Japanese Embroidery Center . They too have very specific jobs which they perform beautifully if you are doing certain types of goldwork or fine silk "painting" embroidery.
As you may have guessed by now, this will be a periodic series of columns about tools. If you are curious about a particular tool or type of embroidery and its tools - leave a comment. Hopefully this series will help some of you overcome issues which have kept your embroidery from being the best it can be.
Monday, May 02, 2011
A Very Special Weekend
This weekend I was admitted into the highest Arts order for my medieval hobby in recognition for my embroidery - the Order of the Laurel. Details of the weekend can be found on my Live Journal post .
There are pictures linked to my Facebook page as well. I know more will follow. At some point I will do a webpage with all the info and picture summary, but for now...
There are pictures linked to my Facebook page as well. I know more will follow. At some point I will do a webpage with all the info and picture summary, but for now...
Tuesday, April 19, 2011
A Week with Original Thinkers
Realized that I had not yet posted about my wonderful adventures with Jean Littlejohn and Jan Beaney - aka Double Trouble . I was fortunate to attend one of their rare week long retreats here in the US. On their website they state their philosophy of teaching as "Our aim is to give students the confidence to design and create their own unique work". They sooooooo live up to this.
They gave us exercises and then we proceeded to do them. They would come around and check on our progress. They brought and shared examples that they had done which utilized bits from the exercise so we had concepts, ideas for application and examples of execution. What was really wonderful is that no one in the class proceeded to get the same result. Some student pieces were so out of the box and wonderful that it added quite a depth to the class. Also each of us in the class came from quite different backgrounds and had different focuses for our art.
Each exercise was designed to give us a tool, concepts about creating additional similar tools, and a jump start for a project. In the past I had looked at their books - mostly at the pictures and little bit at the words. Now I am reading their books and seeing how they applied and developed the concepts that they shared in the class. The books may be "thin" in pages and contain lots of pictures - BUT take the words to heart. There are layers of advice contained within them.
These 2 ladies have taught college level textile arts for 30 years. They produce art constantly with several showings each year. The don't accept that there are rules unless they have played with all the possibilities. That is what the class and their thinking is all about - the possibilities.
Will have to let the ideas percolate for awhile. Sorry no pics - nothing is finished and I am not comfortable showing unfinished work. I will tell you that we played with natural fabrics, creating our own block stamps and using them, gold foil transfer, various stitches, soluable fabrics, scrim (similar to cheese cloth), silk waste, yarns of all types and sizes, threads, poly sheer fabrics, The Embellisher, #14 Chenille needle, lots of layers, and our imagination/interpretations of things in nature. I am not sure I will ever look at objects, shapes, nature in the same way again.
They gave us exercises and then we proceeded to do them. They would come around and check on our progress. They brought and shared examples that they had done which utilized bits from the exercise so we had concepts, ideas for application and examples of execution. What was really wonderful is that no one in the class proceeded to get the same result. Some student pieces were so out of the box and wonderful that it added quite a depth to the class. Also each of us in the class came from quite different backgrounds and had different focuses for our art.
Each exercise was designed to give us a tool, concepts about creating additional similar tools, and a jump start for a project. In the past I had looked at their books - mostly at the pictures and little bit at the words. Now I am reading their books and seeing how they applied and developed the concepts that they shared in the class. The books may be "thin" in pages and contain lots of pictures - BUT take the words to heart. There are layers of advice contained within them.
These 2 ladies have taught college level textile arts for 30 years. They produce art constantly with several showings each year. The don't accept that there are rules unless they have played with all the possibilities. That is what the class and their thinking is all about - the possibilities.
Will have to let the ideas percolate for awhile. Sorry no pics - nothing is finished and I am not comfortable showing unfinished work. I will tell you that we played with natural fabrics, creating our own block stamps and using them, gold foil transfer, various stitches, soluable fabrics, scrim (similar to cheese cloth), silk waste, yarns of all types and sizes, threads, poly sheer fabrics, The Embellisher, #14 Chenille needle, lots of layers, and our imagination/interpretations of things in nature. I am not sure I will ever look at objects, shapes, nature in the same way again.
Thursday, March 24, 2011
The Project
This a a very well wrapped front and partial back of my Elizabethan Pouch Project. Well wrapped due to weather constraints :)About a year ago some friends pushed me to do a historically documentable project. After a number of false starts and several rounds of consultation with my friends this is the result. The inspiration is a purse dated 1600 and shown in a magazine published by Lanto Synge as editor. It includes a very detailed photo of the center of the original and a to scale photo - 6"x6" of the purse. Today the purse resides at the Burrell, although I did not know that when we went to visit in 2007.
In January, I finally started a process of working 5-6 days a week on this piece of embroidery. Mornings were reserved for doing "business" and afternoons and evenings for stitching. The back will only be braid since the cost of materials and time is high. It will have twined braided cording around the opening, finger loop braid pattern drawstrings, coiled loops for the pull tabs and the tassel holders, and silk tassels. Thank-you to Jacquie Carey for showing me how.
I learned a lot on this journey. I would do some things differently and will apply that knowledge on future work.
The piece was presented at our medieval organization, the Society for Creative Anachronism, Kingdom of the West March Crown Arts and Sciences display. After the peerage meetings, I was honored to be offered (and accepted) entrance into the Order of the Laurel - the highest arts/sciences honor we have for the organization. The ceremony will be at our Beltane event with celebration to follow.
In the next month or so, I hope to finish the project so I can wear it for the ceremony. I also planned a treat for myself - a class with Jan Beaney and Jean Littlejohn. My brain my have whiplash but it is all fiber and therefore all good.
Sunday, February 20, 2011
Catching Up with This and That
On the Stitching front -- I am working on a BIG project. It is big in that it takes - bloody forever to get the work done. It is a small project in size - the whole thing is 6" x 6". The medium is seed pearls (in the truest form - 1 - 1.5 mm) and bullion on silk with various padded levels. It is quite the learning experience. I will blog more about it and the process of working the piece when it is done.
The frustrating part is my mind is going a million miles an hour on designing some new multi-fiber pieces. I don't do well with Visual Journals, but will probably resort to one just to get some of these ideas out of my head so I can keep the forward momentum on the pearl/bullion project. My muse sooooo very much wants out to play!
My guild meets next week and we get to play with Nancy Nehring and her Dorset Buttons. These are a Victorian button style that probably has its roots back in Renaissance times. It uses a ring which is covered and then decorated with needle lace techniques. Should be fun and no we are not doing them in single silk ply thread so sanity will be maintained.
Was asked to give an evaluation of the Cosmo threads by Lecien. The quilting shops have adopted the threads for decorating quilts with embroidery. It is slowly seeping into the regular embroidery world. My bottom line is - like the floss better than DMC - the quality of the colors and the handle of the thread is a treat. The 2 ply spools, hmmmm, I rarely use 2 ply so it will have limited use for me but does make a lovely outline stitch. Haven't tried the pearl cotton yet, but think I will enjoy it. I use pearl on Temari balls (for which it has numerous followers in New Zealand and Australia), some CQ, and for teaching needlelace techniques. The price is higher than its competition, but I don't mind paying more for better quality working materials. After all if it is worth my spending time working with them, then I want high quality materials.
Treating myself to a couple workshops this year. Jan Beaney and Jean Littlejohn are coming to my area and I was fortunate to land a place in their 5 day workshop. I am looking forward to expanding my mental horizons as well as my techniques. Then down to the LA area for a fiber retreat through Griffin Dyeworks. Don't know what the classes are, but I really don't care. Bjo Griffin will be there with her dyepots and there is so much fun and knowledge to absorb that the classes will only be a bonus. Lastly we are going to Costume College again. This is where we met in 1996 and we periodically make the trek back.
The muse is tugging at me now, so off to note stuff in the Visual Journal before I plant myself back in front of the sewing area. Think about 4-5 hours for 1" worth of work.
The frustrating part is my mind is going a million miles an hour on designing some new multi-fiber pieces. I don't do well with Visual Journals, but will probably resort to one just to get some of these ideas out of my head so I can keep the forward momentum on the pearl/bullion project. My muse sooooo very much wants out to play!
My guild meets next week and we get to play with Nancy Nehring and her Dorset Buttons. These are a Victorian button style that probably has its roots back in Renaissance times. It uses a ring which is covered and then decorated with needle lace techniques. Should be fun and no we are not doing them in single silk ply thread so sanity will be maintained.
Was asked to give an evaluation of the Cosmo threads by Lecien. The quilting shops have adopted the threads for decorating quilts with embroidery. It is slowly seeping into the regular embroidery world. My bottom line is - like the floss better than DMC - the quality of the colors and the handle of the thread is a treat. The 2 ply spools, hmmmm, I rarely use 2 ply so it will have limited use for me but does make a lovely outline stitch. Haven't tried the pearl cotton yet, but think I will enjoy it. I use pearl on Temari balls (for which it has numerous followers in New Zealand and Australia), some CQ, and for teaching needlelace techniques. The price is higher than its competition, but I don't mind paying more for better quality working materials. After all if it is worth my spending time working with them, then I want high quality materials.
Treating myself to a couple workshops this year. Jan Beaney and Jean Littlejohn are coming to my area and I was fortunate to land a place in their 5 day workshop. I am looking forward to expanding my mental horizons as well as my techniques. Then down to the LA area for a fiber retreat through Griffin Dyeworks. Don't know what the classes are, but I really don't care. Bjo Griffin will be there with her dyepots and there is so much fun and knowledge to absorb that the classes will only be a bonus. Lastly we are going to Costume College again. This is where we met in 1996 and we periodically make the trek back.
The muse is tugging at me now, so off to note stuff in the Visual Journal before I plant myself back in front of the sewing area. Think about 4-5 hours for 1" worth of work.
Wednesday, December 22, 2010
2010 in Fiber
It has been an interesting fiber year. Learned lots - good and frustrating, but overall really fun!Fiber should be fun in my opinion. If it isn't then find something else to do with your time and energies. Each technique is not for everyone, but if it adds to your knowledge... At least that is why I try lots of new things. Some come easier to the hands, but each adds to my knowledge base in different ways.
Not a lot of embroidery this year. I find that the energy that goes into administrative work is the same that goes into a project. I've planned lots of embroidery projects this year, but that seems to be a different part of the brain for me.
Drop Spindle Spinning - finished off one skein and worked on a 2nd. Took the 2nd half of it around with me to a couple damp events... sigh... now I need to pull strips and do a bulky since it seems to have felted itself. Need to learn plying next. Will probably just knit with 2 threads for the skein I finished or do something that calls for finer yarn.
Felting - loved doing the needle felting project at the beginning of the year. Bought some roving to do more at some point. I have some very (as in way tooooo heavy) felted wool that might make up into a nice bag with needle felted design - hmmmm
Weaving - card woven silk trim for my newest Viking. Also did some weaving in the round. Not all the pieces are here since they were gifted earlier this year. Fun and mindless - good for going to meetings and keeping the fingers busy.
Knitting - loved the knitted bag project. Learned lots! Have most of a 2nd one done. Will felt them at the same time when the 2nd one is done.
Finished knitting my hat and wore it in Alaska. Kept my head nice and warm.
Finished 1 of the medieval socks and am about 1/3 through the 2nd one. The first sock fits well - hurrah!!
The lacey knit shawl has been on hold. It takes brain power to do the pattern right.
Finished by first scarf (not shown) -- tired of yarn overs and fighting with a "fancy" yarn.
Knitted the first of 2 fingerless mitts. Working my way down in size of dpns, adding in stitches, and adapting patterns to "fit" the yarn and me. Finally got the knit stitch cast on to even out nicely.
Naalbinding - finally finished my hat. Also did a hat for Will. He loves wearing his -- all nice and warm. Think I will try to do matching fingerless mitts for my hat.
Thank-you to all who helped hold my hand through the learning processes. Having fiber in my hands makes for a happy me. Will be looking at Stitches West and other events to grow my knowledge (and stash :).
Hope to do more stitching in 2011. I am signed up for several fiber and stitching workshops. Also have several projects mentally designed that I'd like to make and perhaps teach (CQ in particular).
Wishing you all a happy healthy fun and creative 2011.
Wednesday, October 13, 2010
Hiatus Due to Busy II
Knowing that August/September would be very busy we decided to schedule a vacation in later September - a cruise. San Francisco to San Francisco - 10 days - the Sea Princess - doing the inside passage of Alaska. Yes we have done this before - but 10 days - no cooking, no laundry, no bed making, no airports, entertainment - or not....and beautiful scenery. Took about 600 pictures which I will distill into webpages for our website - bayrose.org in the next few days.
Sept 19th had us sailing out under the Golden Gate bridge. Cold and beautiful! Not a sight to be missed!!! Saw sea lions and seals.
Sept 20 - cruising -- 9 am was fiber get together on at sea days :) They were also doing ceramics at sea so made 2 plates and 2 bowls to go with the other heraldic plate I made last cruise.
Saw a humpback whale. They had a naturalist on board who gave wonderful lectures about glaciers and wildlife.
Sept 21 - my birthday - thank-you all for the lovely wishes - cruising. Discovered the espresso bar on board the ship.
Sept 22 - Ketchikan - walked about town. Had a good cup of coffee --- finally! Saw a red jelly fish!
Sept 23 - Juneau - Mendenhall Glacier was real treat. It had calved the day before so there was a beautiful piece of blue ice to be seen! The salmon fishery was fun and the salmon bake - yummy - despite the rain. Lots of bald eagles around but none actively flying or fishing.
Sept 24 - Skagway -- walked around town in the AM. In the PM we took the narrow gauge railway up the mountain. Passed through autumn into winter - the first snow of the season! And it was serious snow. Came down to find that a major storm had come in and was expected to do gale force winds and 100' waves. The Captain cancelled our sail of Tracy Arm Fjord (really the only part we had wanted to do) and we made fast (22 knots) south around and into the Canadian inland passage to avoid the worst of the storm.
Sept 25 - cruising - the early AM was rocky since we had to pass into the Pacific to get into the inland area. We also had lots of fun getting pilots on and off the ship. Seems we needed 2 to get through some areas which are a bit dangerous - even for our size ship. Pretty - cold - rainy. Finally managed to finish Will's naalbinded warm hat (day late!)
Sept 26 - cruising - saw dolphins. Lots of pretty scenery.
Sept 27 - Victoria - went to a Butterfly Garden and Buchart Gardens. AMAZING! Need to been seen to be believed. Pictures do not do either justice. Also celebrated our 13th anniversary - which was Sept 7.
Sept 28 - cruising
Sept 29 - home -- beautiful to watch the sun come up over the east bay hills. Came under the Golden Gate in the dark :(
We were very lucky in our table mates. The food in the dining room is MUCH better than the buffet. Also in the dining room they will make all the necessary accommodations for dietary issues. The food quality has come way down over the past 10 years, but it still is quite decent. Only 1 meal was what I would call excellent, but then I am spoiled. I should also say in all fairness that it is amazing all the meals that are prepared for over 2000 people - passengers and crew - in the 3 galleys.
Our table consisted of 6 regular and 4 "anytime diners". The other 2 couples that made up the regular diners were interesting and nice people. They also liked to dress for dinner, so we were easily the best dressed diners. One of the gentlemen was someone who was fascinating in his own right, but was always interested in what others had to say and thought. They also were one of the most gracious couples I have ever met. There is a lot to be said for graciousness and I am sad that it is a rare thing in this most modern world in which we live.
We knew before we left that my car battery was dead. Something about not driving it for long periods of time. Fortunately it did start when jumped and seems to be back to normal. Will's mini required servicing before being back to normal.
We also knew the insta-hot water dispenser was dead - new one ordered now.
We also knew that the computer on the ovens was dead. A new one was ordered that the repair man installed the new one and refurbished the stove top burners on the 30th.
--- how come it all comes at once??????---
Oct 1-2 was my Region meeting and stepping down as EGA Region Director. The meetings went smoothly and I was given a lovely present. It is easy to leave the office, only because I know I am leaving it in really good hands. Of course I still have other EGA projects to handle.
After the meeting, I made the mad dash drive to Oct Crown. Will was wonderful, taking my display up to the event for me. Since my current major embroidery project is on hold, I opted to do a basket of "practical items" - Spinning, Weaving - Circular (mini pouch that I also dyed the yarn), Weaving - Tablet - trim on my newest Viking, Dyeing, Naalbinding - Will's new hat, Knitting - Pouch, and Embroidery (stockings). Then dashed back to take Jane out to dinner.
Jane Nicholas came to do 2 workshops for us. I love hosting her. She is so gracious (there is that word again :). Will picked her up at the airport on the 1st and entertained her for the evening. I love having that man as my partner/husband!!!!! On Oct 3-4 I took her workshop and on the 5-6 I merely acted as Teacher helper. I always learn so much listening to her. Yes plans are underway to have her hopefully teach here in the San Francisco Bay Area next year again!
Then 2 days of selling items from the 2010 Seminar at a local boutique/harvest show and our "final" 2010 Seminar Committee meeting. We still have many items to sell (sigh!).
This week is a bit of recovery, putting up and doing the display at PIQF and being a celebrity.
Sept 19th had us sailing out under the Golden Gate bridge. Cold and beautiful! Not a sight to be missed!!! Saw sea lions and seals.
Sept 20 - cruising -- 9 am was fiber get together on at sea days :) They were also doing ceramics at sea so made 2 plates and 2 bowls to go with the other heraldic plate I made last cruise.
Saw a humpback whale. They had a naturalist on board who gave wonderful lectures about glaciers and wildlife.
Sept 21 - my birthday - thank-you all for the lovely wishes - cruising. Discovered the espresso bar on board the ship.
Sept 22 - Ketchikan - walked about town. Had a good cup of coffee --- finally! Saw a red jelly fish!
Sept 23 - Juneau - Mendenhall Glacier was real treat. It had calved the day before so there was a beautiful piece of blue ice to be seen! The salmon fishery was fun and the salmon bake - yummy - despite the rain. Lots of bald eagles around but none actively flying or fishing.
Sept 24 - Skagway -- walked around town in the AM. In the PM we took the narrow gauge railway up the mountain. Passed through autumn into winter - the first snow of the season! And it was serious snow. Came down to find that a major storm had come in and was expected to do gale force winds and 100' waves. The Captain cancelled our sail of Tracy Arm Fjord (really the only part we had wanted to do) and we made fast (22 knots) south around and into the Canadian inland passage to avoid the worst of the storm.
Sept 25 - cruising - the early AM was rocky since we had to pass into the Pacific to get into the inland area. We also had lots of fun getting pilots on and off the ship. Seems we needed 2 to get through some areas which are a bit dangerous - even for our size ship. Pretty - cold - rainy. Finally managed to finish Will's naalbinded warm hat (day late!)
Sept 26 - cruising - saw dolphins. Lots of pretty scenery.
Sept 27 - Victoria - went to a Butterfly Garden and Buchart Gardens. AMAZING! Need to been seen to be believed. Pictures do not do either justice. Also celebrated our 13th anniversary - which was Sept 7.
Sept 28 - cruising
Sept 29 - home -- beautiful to watch the sun come up over the east bay hills. Came under the Golden Gate in the dark :(
We were very lucky in our table mates. The food in the dining room is MUCH better than the buffet. Also in the dining room they will make all the necessary accommodations for dietary issues. The food quality has come way down over the past 10 years, but it still is quite decent. Only 1 meal was what I would call excellent, but then I am spoiled. I should also say in all fairness that it is amazing all the meals that are prepared for over 2000 people - passengers and crew - in the 3 galleys.
Our table consisted of 6 regular and 4 "anytime diners". The other 2 couples that made up the regular diners were interesting and nice people. They also liked to dress for dinner, so we were easily the best dressed diners. One of the gentlemen was someone who was fascinating in his own right, but was always interested in what others had to say and thought. They also were one of the most gracious couples I have ever met. There is a lot to be said for graciousness and I am sad that it is a rare thing in this most modern world in which we live.
We knew before we left that my car battery was dead. Something about not driving it for long periods of time. Fortunately it did start when jumped and seems to be back to normal. Will's mini required servicing before being back to normal.
We also knew the insta-hot water dispenser was dead - new one ordered now.
We also knew that the computer on the ovens was dead. A new one was ordered that the repair man installed the new one and refurbished the stove top burners on the 30th.
--- how come it all comes at once??????---
Oct 1-2 was my Region meeting and stepping down as EGA Region Director. The meetings went smoothly and I was given a lovely present. It is easy to leave the office, only because I know I am leaving it in really good hands. Of course I still have other EGA projects to handle.
After the meeting, I made the mad dash drive to Oct Crown. Will was wonderful, taking my display up to the event for me. Since my current major embroidery project is on hold, I opted to do a basket of "practical items" - Spinning, Weaving - Circular (mini pouch that I also dyed the yarn), Weaving - Tablet - trim on my newest Viking, Dyeing, Naalbinding - Will's new hat, Knitting - Pouch, and Embroidery (stockings). Then dashed back to take Jane out to dinner.
Jane Nicholas came to do 2 workshops for us. I love hosting her. She is so gracious (there is that word again :). Will picked her up at the airport on the 1st and entertained her for the evening. I love having that man as my partner/husband!!!!! On Oct 3-4 I took her workshop and on the 5-6 I merely acted as Teacher helper. I always learn so much listening to her. Yes plans are underway to have her hopefully teach here in the San Francisco Bay Area next year again!
Then 2 days of selling items from the 2010 Seminar at a local boutique/harvest show and our "final" 2010 Seminar Committee meeting. We still have many items to sell (sigh!).
This week is a bit of recovery, putting up and doing the display at PIQF and being a celebrity.
Wednesday, September 15, 2010
Seminar Class Musings
First - I will not share pics of the class projects. The projects are copyright by the designers so....
I took 2 classes. I was careful not to choose classes that would fill during early registration as I didn't feel that it would be fair to other students knowing that I could be pulled out of class at any time and for any amount of time. I also chose classes that I felt my absence would not create a drag on the teacher or other students. That said - I did get my choices. As a courtesy to the teacher, I also notified each of the possibility that I might get pulled out or be late on my "returns", kept my cell phone on vibrate, and sat in an easily accessible place in class to enter/leave without disruption.
Michelle Roberts - Golden Poppies
Michelle is an excellent Goldwork teacher and as followers of my blog know, I can never do enough goldwork. She was one of my first goldwork teachers - her Napolean's Bee. This class was a great review and there were several "ah ha" moments in class for me. I asked if she minded my using a slate frame rather than stretcher frame, tacs and lacing and she made me show it off. We transferred the pattern using tissue and stitching which was a first for me. I knew of the technique but had not done it before. She also talked a lot about how the gold bullion bits were made and what made each unique. While I am sure I've heard it before, it makes more sense to me now that I have spent more time with the different bits and understand working with them better. Didn't get much done in class, but it was a great 2 refresher for me.
Deanna Powell - Barbary Bangle
Deanna is a former President of EGA and long time teacher. I had not taken from her before and I needed to up my beading game. The bangle is effectively 2 bracelets with flat peyote, flat herringbone - both wide and narrow, and peyote bezel. Lovely materials as well - 24 carat gilded beads. Glad the techniques were not too difficult since I my brain was fried by the end of Seminar (days 9 and 10 for me due to Board meetings). I was able to get the gems set and the peyote and herringbone to lay nicely. As I keep saying I am a tension-holic so getting the right tension was important to me.
Off on vacation for the rest of the month. Will take the bangle with me to finish since it will go with an outfit I plan on wearing. The vacation was planned before we got the kittens so have arranged live in care for them while we are gone.
Have posted pics of me in the Victorian outfits on my Facebook account. Not the best pics since I look really tired in each. I know there are better ones out there, but I don't have them - yet.
I took 2 classes. I was careful not to choose classes that would fill during early registration as I didn't feel that it would be fair to other students knowing that I could be pulled out of class at any time and for any amount of time. I also chose classes that I felt my absence would not create a drag on the teacher or other students. That said - I did get my choices. As a courtesy to the teacher, I also notified each of the possibility that I might get pulled out or be late on my "returns", kept my cell phone on vibrate, and sat in an easily accessible place in class to enter/leave without disruption.
Michelle Roberts - Golden Poppies
Michelle is an excellent Goldwork teacher and as followers of my blog know, I can never do enough goldwork. She was one of my first goldwork teachers - her Napolean's Bee. This class was a great review and there were several "ah ha" moments in class for me. I asked if she minded my using a slate frame rather than stretcher frame, tacs and lacing and she made me show it off. We transferred the pattern using tissue and stitching which was a first for me. I knew of the technique but had not done it before. She also talked a lot about how the gold bullion bits were made and what made each unique. While I am sure I've heard it before, it makes more sense to me now that I have spent more time with the different bits and understand working with them better. Didn't get much done in class, but it was a great 2 refresher for me.
Deanna Powell - Barbary Bangle
Deanna is a former President of EGA and long time teacher. I had not taken from her before and I needed to up my beading game. The bangle is effectively 2 bracelets with flat peyote, flat herringbone - both wide and narrow, and peyote bezel. Lovely materials as well - 24 carat gilded beads. Glad the techniques were not too difficult since I my brain was fried by the end of Seminar (days 9 and 10 for me due to Board meetings). I was able to get the gems set and the peyote and herringbone to lay nicely. As I keep saying I am a tension-holic so getting the right tension was important to me.
Off on vacation for the rest of the month. Will take the bangle with me to finish since it will go with an outfit I plan on wearing. The vacation was planned before we got the kittens so have arranged live in care for them while we are gone.Have posted pics of me in the Victorian outfits on my Facebook account. Not the best pics since I look really tired in each. I know there are better ones out there, but I don't have them - yet.
Monday, September 13, 2010
ATCs
Before I left for Seminar I attended a class at my local chapter on embellishment. The teacher covered how to do some fancy beading, working with Angelina, capturing stuff behind veiling, etc. Lots of ideas of things to do!
Then at Seminar we had an ATC Board - bring/make 1 and take 1 on Friday. Some brought several. I brought 4. I traded 2 and put 2 on the board for general trading.
These were from an introduction to ATCs that I did for our Region Meeting a few months ago. The idea was to dimystify the how of doing ATCs. The hardest part for most people is getting past the empty canvas. With acrylic paints in tubes, I did some graffitti on a piece of Aida cloth. It was interesting to see which paints would just soak in and which would actually "paint". The metallic copper worked well as a top layer. Then I cut the piece apart before adding embroidery and beads. The backing is Timtex (?sp) - glue for 3 and edge stitched for 1. Think I like the glue better. They aren't fine art, but they were fun!
Sunday, September 12, 2010
Busy Times
The kittens helped us pack but failed to contribute enough fur to hold me over for the full time away. Sept 1 was pack the MDX full (well at least 2 full hotel carts full) for the move to the San Francisco Marriott Marquis. Sept 2-3-4 were Board meetings - 8 + hours a day.
On the evening of the 3rd a group of us went to the Impressionist exhibit at the DeYoung. It was fascinating to see the paintings of an era all together. I've been to Degas, Monet, and other single artist exhibits, but this really set the stage to understand their youth and development. Impressionists are not my thing, but I can appreciate them.
The 4th evening was a birthday party for a fellow board member. She threw herself a party and invited the Board along. It was a lovely social evening.
Then the work really began.
The EGA National Seminar - classes started on the 3rd and ran through the 10th. Over 600 people, including 32 teachers from around the world (5 were international), 2 banquets, tours, a dozen lectures and other special events, a boutique with a huge bookstore, 2 needlework shops and 3 other shops, displays and more displays, AND a Merchandise Day with about 50 vendors. Our theme was Stitching on the Barbary Coast.
Beginning with the opening Banquet, I was in Victorian costume every day and evening -- 1 ball gown, 3 day gowns with appropriate hair, jewelry and makeup. I also wore a hat and gloves on Merchandise Day - after all I was shopping (even if it was indoors :). As Region Director, for the hosting Region, I felt it was important to be The Hostess for the event. This included sitting head table for both opening and closing banquets (with Will also dressed appropriately in Victorians for the opening and Tux for closing), doing the Invocations, Welcoming and Farewell speeches, pulling raffle tickets, making announcements, and directing the hordes as appropriate. Yes I can be heard across a loud lobby :). Wednesday night we went to Beach Blanket Babylon. It was fabulous, and as a VERY special event, the Director came out after and answered questions for about 30 minutes. I also hosted a social for our Region, attended the Annual Meeting, attended a lecture by Autumn from Dark Garden on Corsets, etc.
I took 2 classes - Michelle Roberts' Goldwork Poppy and Deanna Powell's Barbary Bangle (beaded bracelet). I will do a separate post on the classes themselves. While I had a few things that periodically made me late to class, I wasn't pulled out for any emergencies. The event flowed smoothly in large thanks to the fabulous and hardworking Seminar Committee and the many volunteers. Think I had 1 dinner to myself and half a lunch. In my "off time", I strolled around and gave out spot awards for wearable art. Each day had a theme. My goal was 100 awards, but I barely managed to give out half. In part because I was soooooooo busy and in part because it was a new concept.
Will came up about every other day to participate in various things. He was a hit in his Victorians and dashing in his tux. The ladies wanted to auction him off in the Thursday night live auction, but he said no.
All in all a good time - a fun time - a refreshing time.
Then yesterday we went to the gem show. Will bought me my birthday gift :) I make it easy on him - we just go to our favorite jeweler. Usually he is the one that spots the item for the gift. He has good taste :)
Now off to do the mundane chores the pile up when you are gone.
On the evening of the 3rd a group of us went to the Impressionist exhibit at the DeYoung. It was fascinating to see the paintings of an era all together. I've been to Degas, Monet, and other single artist exhibits, but this really set the stage to understand their youth and development. Impressionists are not my thing, but I can appreciate them.
The 4th evening was a birthday party for a fellow board member. She threw herself a party and invited the Board along. It was a lovely social evening.
Then the work really began.
The EGA National Seminar - classes started on the 3rd and ran through the 10th. Over 600 people, including 32 teachers from around the world (5 were international), 2 banquets, tours, a dozen lectures and other special events, a boutique with a huge bookstore, 2 needlework shops and 3 other shops, displays and more displays, AND a Merchandise Day with about 50 vendors. Our theme was Stitching on the Barbary Coast.
Beginning with the opening Banquet, I was in Victorian costume every day and evening -- 1 ball gown, 3 day gowns with appropriate hair, jewelry and makeup. I also wore a hat and gloves on Merchandise Day - after all I was shopping (even if it was indoors :). As Region Director, for the hosting Region, I felt it was important to be The Hostess for the event. This included sitting head table for both opening and closing banquets (with Will also dressed appropriately in Victorians for the opening and Tux for closing), doing the Invocations, Welcoming and Farewell speeches, pulling raffle tickets, making announcements, and directing the hordes as appropriate. Yes I can be heard across a loud lobby :). Wednesday night we went to Beach Blanket Babylon. It was fabulous, and as a VERY special event, the Director came out after and answered questions for about 30 minutes. I also hosted a social for our Region, attended the Annual Meeting, attended a lecture by Autumn from Dark Garden on Corsets, etc.
I took 2 classes - Michelle Roberts' Goldwork Poppy and Deanna Powell's Barbary Bangle (beaded bracelet). I will do a separate post on the classes themselves. While I had a few things that periodically made me late to class, I wasn't pulled out for any emergencies. The event flowed smoothly in large thanks to the fabulous and hardworking Seminar Committee and the many volunteers. Think I had 1 dinner to myself and half a lunch. In my "off time", I strolled around and gave out spot awards for wearable art. Each day had a theme. My goal was 100 awards, but I barely managed to give out half. In part because I was soooooooo busy and in part because it was a new concept.
Will came up about every other day to participate in various things. He was a hit in his Victorians and dashing in his tux. The ladies wanted to auction him off in the Thursday night live auction, but he said no.
All in all a good time - a fun time - a refreshing time.
Then yesterday we went to the gem show. Will bought me my birthday gift :) I make it easy on him - we just go to our favorite jeweler. Usually he is the one that spots the item for the gift. He has good taste :)
Now off to do the mundane chores the pile up when you are gone.
Sunday, August 08, 2010
Ruching!
How could I forget how much fun it is to work with ribbon or fabric and do ruching! This flower was from a class with a lady who teaches needlework, embroidery and design a local sewing center. Her bags are works of art and they were all decorated with ruching!This flower is silk charmeuse cut on the bias and done with zigzag ruching. The leaves are 2 types of ribbon. I've done a bit of ribbon work with Candace Kling who is the goddess of ribbon work. If you can find her book - get it!
Hmmmm now I have all these ideas running around my head just when I need to concentrate on a big project.
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