MINDBLOGGLINGS

TAST 2012 - CRETAN STITCH

2012-01-26T13:46:00.000-05:00

See the exciting work of other participants in the Take a Stitch Tuesday Flickr Group
We are in Week 4 of the challenge, not too late to join in!

WIP sweater

2012-01-24T12:33:00.000-05:00

This is an interesting sweater I'm working on. The design is Jill Vosburg's "Sea Glass" which you can see on her Just One More Row website. I ordered it kitted in the "tidepool" colorway, and I'm finding the silk nice to work with. This is the second or third project I've knitted from Jill's patterns, which are easy to follow and size customize. If you follow the link you'll see details of the Sea Glass sweater, which is a vertical rib. The sweater is knit sideways and the pink edging you see is the provisional cast-on for adding a gusset to give a swing shape.

TAST 2012: Feather Stitch

2012-01-23T20:51:00.001-05:00

I truly love feather stitch. It meanders, spirals and can be linear. And it's so graceful! My favorite work with this stitch is the sampler I did for the original TAST.

TAST 2012 - Fly and Buttonhole Stitches

2012-01-19T23:41:00.000-05:00

I've been excited ever since Sharon B announced she would host another Take a Stitch Tuesday. I did plan ahead so I'd be ready wherever I might be come January. I started at my LCS with a DMC variegated perle that appealed to me. I selected it in #10 and #20, the gathered floss and #5 perle in gradations from the variegated colorway, along with some Kreinik braid for sparkle. At home I found 16 ct Aida cloth and dyed it with some yellow, seagreen and turquoise I had on hand. It turned out similar to some cotton I experimented with last year. I decided not to burden my to-go stash with beads, figuring it would be an excuse (as if I needed one) to shop for embellishment goodies.

You'll notice some small skeins of yarn I threw in. These are samples I get monthly from www.elann.com. I've been subscribing for several years now and use the yarn for lots of different things including CQ and Scrumbling.

Waiting for internet mobility I started the sampler with the lettering. The words stitch and 2012 worked with a scrap of yarn I'd brought along for another project. I untwisted it into single plies.

For fun I'll be adding some pastel buttons to the big buttonhole.

The upper element is one of my favorite uses of fly stitch. I make exaggerated flies, joining where I can, making odd shaped patches that are fun to fill with tiny stitches or beads; I worked such before using feather stitch.

GETTING SETTLED

2012-01-13T23:54:00.000-05:00

Our bed is situated between a wall of glass looking out to the beach and a wall of mirrors, so either way we awaken to a radiant sunrise:

On the days it's been warm I've enjoyed mornings on the balcony with a table where I can journal, read or knit.

That's my DH taking some sun while I play with my art stuff. I came prepared with various art journals, mixed media materials for the first session, Doodles Unleashed of the Strathmore Workshop with Traci Bautista and stitching supplies in anticipation of Take a Stitch Tuesdays 2012. I was a week late before I got internet connection, and then realized I had invitations for an online class with Lynda Monk re her fantastic new book Fabulous Surfaces and another mixed media event, a Webinar: My Journey with Maps Hosted by Jill K. Berry. When I realized we'd be spending three months away, I had to cancel a class with Michael deMeng called Crusty, Crumpled and Cracked. I'd missed it once before and was really looking forward to this opportunity. Well you can't just take the whole studio and kitchen sink along! I don't have Lynda's book with me, so I'm hoping her lessons will be available for when I get back. I can't wait to try more of her techniques. I have caught up with TAST and will show results in my next post.

WHERE TO BEGIN...

2012-01-13T17:31:00.000-05:00

I'll give the quickest account I can. Great visit with daughter in NJ, wonderful Thanksgiving dinner with much to be thankful for since the day before we received news that an arrest had been made in our granddaughter's murder. Lots of sightseeing and culinary goodies. Our daughter is a culinary diva and works out of an adorable kitchen she's decorated with fiesta colors and chili peppers. As soon as I got home I bought fabric with which to make her some fun aprons and other kitchen accessories.
Then we went on to Myrtle Beach.

This was our view from the guest BR in my brother-in-law's condo. We enjoyed balmy weather, uncrowded venues and learned rentals for the winter are about a third to half what we used to pay in Florida. The long and short of it is, we rented a condo from a friend of ours, and we are currently snowbirding in Myrtle Beach. Our living room and bedroom look out to the beach, and from the balconies we can view the nature preserve adjacent to the property and North and South Myrtle Beach skylines from the respective directions. Here I am celebrating our first day.

I'm wearing a hat and scarf I made last month.

While I'm showing and telling, here's a sweater I knit this summer and finished up to bring to Myrtle Beach. Well, maybe March.

ALL IN GOOD TAST

2011-11-22T04:02:00.000-05:00

Before I leave today for a two week visit with family in South Jersey and Myrtle Beach, SC, I want you to immediately click this link to Sharon B's TAST 2012! All the details are there -- in case you haven't already signed up.

I haven't posted in awhile, so we'll have a ketchup fest when I get back. Promise!!!

LAYERS UPON LAYERS

2011-05-20T17:29:00.000-04:00

FROM THIS

TO THIS

I've just completed Week 2 of the Strathmore Workshop Series 3 of art journalling techniques with Roz Stendahl. The assignment was to build upon some of the papers from the first week using layers and layers of mixed media to create a journal page spread. I actually began with new background pages in my watercolor paper SVJ

(Strathmore Visual Journal) because the Sketchbook Challenge theme was resist and I was curious to learn which of my color media could work as resists. Here's my process, but be aware I wasn't dutiful about taking notes and that I likely used more than one color of the various products.

1. Pigmented acryllic ink over resists

Resists were oil pastels (loosely applied to let background color show through), acryllic dabber

(Adirondack), Mica Magic ink, and acryllic paint.

2. First layerings
torn pieces of hand dyed, unbleached coffee filter;

small circles stencilled with pigment ink pads through plastic litterbox liner -- the liner itself then applied as stamp; used postage stamps commemorating scouting and a repro Depression era poster enlisting women to aid in famine relief, dauber splats.

3. Muting background color

coffee stain over pix; chalk smudging, spray with Tattered Angels

6. More layering, muting
Background colors and designs were still too bold. I applied bits of aqua colored tissue paper, followed by a thinned down coat of gesso, then dabbed up from the center and onto other parts of the pages. Wrote in central area with sepia pigment pen, then added random shreds from tea dyed cheesecloth for texture and for partial concealment of writing. A final spritz with terra cotta stain before adding torn strips of tea dyed muslin lettered with my theme: values passed down from the grandparents I never knew.

PAPER PLAY

2011-05-07T22:48:00.000-04:00

First assignment for the Strathmore Visual Journal Workshop, Series 3 is to build layers of background color & interest for several journal pages. For this I'm working in my Strathmore Visual Journal, 140#watercolor, 9x12 and a Canson sketchbook of the same size but paper not really suited to wet mixed media. Our instructor, Roz Stendahl suggested we experiment different journal papers, so later I'll try some of the other SVJ's Here's what I've done so far on these 2-page spreads. The colors are not showing properly!

VSJ: washed with Golden fluid acryllic paint, hansa yellow medium, & water spritzed.
The Sketchbook was the same in color, which is sunnier than above shows, btw.

Top-VSJ: overwashed with Tim Holtz/Ranger Distress dye ink, dried marigold.

Bottom- is the sketchbook; it took on more color than the watercolor paper.

SKbk: overwashed with Dylon Coldwater dye, camelia. I've had it around a couple of years; I use it for staining papers and fabric now. It absorbed faster than I could blot,so I got a brighter stain than I wanted. I used it more sparingly in the SVJ, which you can see below on the right side.

The left pages have been washed with diluted walnut ink and quickly blotted up. It left a yechy, drab stain which is why I did not use the walnut ink on the right. I did give a slight spritz to all pages with some diluted walnut ink in terra cotta. And somewhere early on a gave a spritz of red Smooch, just a touch -- probably doesn't show up.

This is the step before the walnut ink treatments. I made marks with a scrap of cardboard, inking the corrugated side with a Brilliance pigment ink pad in pearlescent coral. It was then that I spritzed with red Smooch.

Top- Skbk; bottom - SVJ

This is how my VSJ watercolor pages look so far. I stencilled dots using the center cut from a catbox liner, the kind with holes in the center that you layer over a solid liner. You clean the box by lifting the holey liner which strains the litter back in the box. I found it easier to simply scoop, so I stopped using the layered liner system. The violet is a ColorBox catseye in sunflower -- no, wait! I must have switched lids. The orchid dots are Brilliance pearlescent orchid. You'll note a little flower motif here and there? I used the plastic mold from a gel air freshener.

And here I am with the sketchbook pages at present. More to come.

PLAYTIME ON PAPER

2011-05-06T15:41:00.000-04:00

Quite a lapse since my last entry! I have not been away. I have not been ill. I have been playing with mixed media and journalling. I have been studying, reading books and blogs and watching video tutorials. And I have been learning more about myself.

The second in the Strathmore Visual Journal Online Workshop (see badge left margin) series came and went, and although the instruction was fine, it was basic with techniques I had learned elsewhere. The teaching did, however, meld nicely with Sarah Whitmire's Soul Journalling Prompts (see badge left margin), which I highly recommend - so much so I joined the Yahoo Group. Here are a couple of wip pages.

Here I carved a piece of foam and used it as a stamp to create basic lines of a folk art bird. It actually looked pretty cool with just the white lines against the aqua background, but the idea here was for me to experiment with different products for coloring. For the bottom bird I used markers, Sharpies and Gel pens. The small dotted circles of the body were from the the stamp. I used the end of a pen with a hollow center to push into the foam board. I colored the middle bird with pencil and drew the little bird at the top with crayon. As for the layering process I first applied torn bits of aqua tissue, then stamped, then colored the birds, then appled strips of

ephemera paper pre-dyed with leftover cold water dye from another project, and snippets of a cotton print (right & wrong sides). I dabbed watercolor washes, followed by additional washes with Twinkling H2O's and then pen tip dots with metallic & acryllic paints.

A couple of notes about the watercolors I used. I heard Twinkling H2O's are discontinued, so I bought as many different ones as I could here. I found this great tutorial by Marah Johnson when I was looking for directions for the Twinklings in my stash so old I forgot why I bought them and how to use them. They still work, btw!

The Koh-i-noor watercolors I used on both journal pages I bought as a travel set. I knew nothing about them, but for the incredibly low price ($5.15) I couldn't go wrong. Guess what -- money well spent! I'm liking them a lot, especially for the portability. I keep them in my computer desk and can use them on the spot with my Nija waterbrushes which I really, really love!

This is the result of a doodled line. I stared at it until I could see a picture, inked the lines and watercolored. Please keep in mind both pages are unfinished.

WHERE THE WILD THINGS PLAY

2011-01-28T11:52:00.001-05:00

There are almost 1500 participants in Workshop I of the Strathmore Online Series. Pam Carriker has been the instructor for this first class in visual journalling. I mentioned earlier that our objective for this 4-part workshop was to build a new journal page collaged from our own old art and other recycled materials. There's been quite a buzz about Pam's new book, Art at the Speed of Life; you can catch a preview and mini-tutorial by the author here.

Where the Wild Things Play

I added fiber streamers and decorated tags to the spiral binding of the page. The tags have more phrases like, "Bright colored jellies with ribbons that sting", etc. This being a journal page it is filled with feelings and symbols apparent to no one but myself. Some of the imagery is dark rooted , but others aren't really the morbid fascinations they seem. See my post about the Creature from the Black Lagoon doll .

Below is the original collage and thumnails of the recycled "art".

THE BOOK OF SHROOMS

2011-01-24T23:02:00.000-05:00

THE BOOK OF SHROOMS

At last my paper bag treasure book is finished. I have worked on it most days since I started the class in October and don't begrudge a moment. It was pure play from the search for content and materials to the final result. In between there were new products and techniques to experiment with, and I learned that scrapbooking is but the tip of the iceberg when it comes to paper arts and mixed media. My book is crude compared to Sara Whitmire's as I'm still clumsy with the techniques and mediums. Her excellent videos for the class made the process look do-able and of course effortless in her talented hands.

Covers and pages are wax coated. I used fibers and ribbons on everything, and if you look at the clusters from the binding (beaded wire) you'll see a string of dried mushrooms hanging with the crepe ribbon and novelty yarns. You might also spot some silk ribbon, a pretty beige I got from hickory nuts.

Here is a view of the open side of the book with the pages fanned out. Actually they are so stuffed with shroom "stuff"; they won't close until I get some heavy duty clips.

I'm afraid the inserts and inclusions are in danger of falling out. I decorated just about every surface, and every front has a back, even labels and mini-bags.

The pages are collaged. I don't have much in the way of paper stash, so I used some handcrafted solids and used pictures of fabrics, etc., to make my own backgrounds. Unfortunately my DIY scrapbook papers were not as substantial as commercial products, so I had to experiment with adhesives and distress methods. I'll likely do the same thing next time (I told you, I've already started!), but I'll print on heavier paperstock.

First Page

You've probably wondered what I could find to fill a book on mushrooms. My choices were easy because of the recipient, a mushroom hunting friend born in Czechoslovakia and raised in Germany. Amazing what'll come up with keywords

German mushrooms like the prayer card on the left showing a guardian angel guiding children to choose right from wrong! Behind the inserts tucked in at the left is a vintage picture of a child presenting a mushroom to his mother. The two tags have pix of popular edible mushrooms pfefferlinge/oyster and morels. Behind the tags is a small white paper bag distressed with a secret potion our teacher provided and decorated with another vintage kids/shrooms picture and on the reverse morels in a handcrafted basket with provencial linen. The real treasure is the button peaking out. It's glass, a mushroom man with walking stick and comes from the Czech Republic where they are still producing buttons from antique molds.

Each page was a collage. The gnome is from a vintage German postcard. The background is a picture of fabric, the foreground is cut from one of this year's Christmas cards. You see the tags peeking out to the right? The book is made from 3 paper bags. Slits are cut in the bottoms to house the tags in the bottom portion that folds over. I have therefore 6 tags all of which bear mushrooms from international postage stamps! Romania and Isle of Man have particularly beautiful collections. If you didn't understand about the bag bottoms I came across a mini tutorial this morning on Cloth, Paper Scissors Today, a daily newsletter.

CATCH AS CATCH CAN

2011-01-11T12:51:00.000-05:00

When I say I'm catching up, it sounds like I've been delinquent in my self-imposed, creative responsibilities, although that's hardly the case. I have been working on projects everyday except for 10 days of travel to and from California. For Jane LaFazio's Sketchbook and Watercolor class I completed all but half an assignment.
Despite all my whining, I got a lot from the class and highly recommend it when it comes around again in March.

What's really kept me busy and excited with no end in sight is another Joggles class I took that began while Jane's was wrapping up. I've been wanting to learn more about mixed media so I enrolled in Sara Whitmire's Paperbag Book. Do take the time to check out the class link because no matter how I try to describe the project, I'd fall short. Basically we constructed a book from paperbags and then decorated with a theme using various techniques and products (my paperarts stash got a jump start!), then created all kinds of hiding places for little treasures.

I did not go for a Christmas theme, worrying I might not finish in time. I'm still working on three books. The most fun for me was finding theme stuff, much like a treasure hunt. One book, the closest to completion, is a gift for a mushroom hunting friend. I was able to find pictures of antique botanical prints, vintage European postcards, tons of mushroom lore, mushroom art, mushroom fabric, mushroom buttons, and I'm working in wonderful woodsy colors. As you may suspect, the morel of my story is I can't stop!

I'm also making two books in pink, the intended recipient's favorite color, with a French theme. I'm using pink & hot pink in both cases, one accented with grey, silver & black and the other with, oh la la, chocolat. They are going to be delicious, and I will be working on them a little or a lot each day, as I've already cached supplies and pink frou-frou.

You may have noticed from the badge that I had the temerity to sign up for the Sketchbook Challenge. I know, I know, but it'll pressure me to draw. I am in Week 2

of Strathmore's Visual Journal Workshop I, which is free and online. This is what I made for the first week.

The assignment was to recycle previous art into a collage. You can probably recognize bits of TAST samplers, CQ blocks, the creature doll I made. Some of those pieces used recycled material in the original work. The water lily is from a watercolor painting I did about 20 years ago. I'm still working on the second assignment which uses graphite pencil, oil pastels and gesso. I'm not too happy with results thus far, but I have faith it may be salvageable.

And that where I am to date, happily dabbling in new mediums and techniques.

SWIMMING IN CATCH-UP

2011-01-10T12:00:00.000-05:00

OMG -- I'm farther behind than I thought! I wrote the following 11/06:

"Let me preface: anything I write about my personal drawing demons, has nothing to do with Jane LaFazio's class which I'm enjoying (except for the sketching part) and hopefully making progress thanks to support from a gifted teacher and sympathetic classmates and my own determination. While journalling this morning I saw a buck in my front yard; the movement of his antlers rubbing against a tree caught my eye. He left shortly thereafter, but I sketched him in my journal. Are you catching this? I drew a picture in my journal! I never draw in my journal journal (my ritual morning exercise of writing longhand) except for the occasional stick figure or doodle. Had I not already had pen in hand, I might not have taken the time to capture that remarkable scene other than in words. It felt, um, rewarding, and validated my reason for taking the class in the first place. You were probably wondering that.

In Lesson 3 we practiced direct to pen sketching with blind and continuous line drawing. Jane said we might find our results somewhat wonky. What a relief."

WONKY IS AS WONKY DOES

If you note the date on this watercolored sketch, it is Halloween appropriate!!! That's my excuse, and I'm sticking to it! Here's the rest I completed for the class.

TAST 2010 - WEEKS 38 - 44

2010-12-27T14:43:00.000-05:00

Week 38 - Picot Chain Stitch

This is as much as I got done in the assigned week. I kept thinking I would add something else or take something out, but I never got around to it, and now I don't remember clearly what I was trying to do. I can see I worked a spiral, worked the chain with picots on either side, and worked the chain zigzag.

Weeks 39 and 40 - Buttonhole Picots

The background cloth is another piece of tea dyed dish towel. The Watercolour shows up a little better than the Wildflower thread, but there's not much to see. Sadly I didn't put a lot of time or thought into this assignment. It was Thanksgiving week and I was juggling two overlapping online classes. The picots are lost in the terry loops, and because they're placed randomly along the irregular lines, they're hard to spot anyway and not worth the effort IMHO. I'll simply say the upward spikes have bullion picots and downward the chains.

Weeks 41 - 44: Checkered/Magic Chain, Woven Cross,

and Crossed and Plaited Feather Stitch

Magic Chain: 3 rows of chain just under TAST '10.

Woven Cross: above and below the single line of beads. I considered weaving the lettering which I added later, but ran out of time and steam.

Crossed Feather Stitch: the top row, worked in Wildflowers.

Plaited Feather: bottom rows. If you look at the tangled center, you can maybe see I worked the plaited version between 2 rows of straight-sided feather stitch.

Even though my work was lackluster toward the end, I feel a sense of accomplishment for having completed the challenge and extreme gratitude to Sharon B for leading us through this wonderful learning adventure. Tuesdays will not be the same without a new stitch to look forward to. I'm thinking I might pick up the ones I missed in the original TAST challenge, and after that I'll probably tackle the Stitch Files.

You can view all of my TAST 2010 work here and original TAST here.

You can also view the photo pool for all TAST '10 participants here.

Join all of us at Stitchin Fingers, an international, online community for all manner of stitchery, fiber and needlework.

TAST 2010 - TURKMAN STITCH

2010-11-04T11:34:00.000-04:00

TAKE A STITCH TUESDAY - WEEK 36 - TURKMAN STITCH

Sharon B was right in us this is an easy stitch and an attractive border as is. However, I couldn't think of much else to do with it other than vary the stitch horizontally or vertically. Here's what I did left to right:

1. This looks like the traditional stitch and starts out that way, but if you look closely you'll see that after the first two stitches I lengthened the next two by one thread, then go back to the original and alternate from there. I like this effect, gives a texture of crackle and looks somehow lacier.

2. Started off normal, then a little zig-zag, then back to normal until I veer off to the left by changing the position of the first stitch. You can see where I began the righthand diversion; the first stitch begins to the left of the last stitch in the upper, single column and covers the gap left by the top of the left branch.

The right branch experiments with horizontal variations. I might have avoided the "nubs" if I had made the changes more gradual and by paying closer attention to the tension.

3. Exactly like #1

4. Upper portion of this column is worked evenly but more open. Below I worked two side by side rows.

5. Didn't want you to think the squiggles in Column 2 were mistakes. Here's an entire column done zigzag style with random stitch length variation.

6. The final column show a gradation in stitch length.

I don't particularly care for this stitch on its side, but I think vertically it doesn't make much difference upside down.

See what other TAST'ers are doing on our Flickr site.

SPIKED KNOTTED CABLE CHAIN

2010-10-29T17:00:00.001-04:00

SPIKED KNOTTED CABLE CHAIN
Originally uploaded by Fiberdabbler

Flamingo Floozies, a slightly out of step chorus line.

TAST 2010 - SPIKED KNOTTED CABLE CHAIN

2010-10-29T14:30:00.000-04:00

TAKE A STITCH TUESDAY - WEEK 35

Sharon B describes this as a kind of combination of twisted chain and oyster stitch. It's easy enough to work once you get the hang of it and remember to point and wrap your needle in the right direction. For this sampler I used single strands of Caron's Watercolours and Wildflower. This stitch could be worked in tidy little knots, but I tend to form it loose and plump for the texture. I didn't do much in the range of variation other than alternate spikes and curved & straight lines.

Originally I was working on a geometric pattern, but at some point I glanced down and saw a tree. To convince the viewer it is a tree I added some grass, and here's when I came up with another variation. The final portion of the stitch is worked like buttonhole, so it was easy to add more spikes which I liked a lot. The lowermost grass is two overlapping rows.

There is one more thing I want to do with this stitch. I will attempt it later this week, time permitting.

TAST 2010 - BUTTONHOLED DOUBLE CHAIN

2010-10-22T01:07:00.000-04:00

WHERE CREEPIES CRAWL

AND SLITHERIES SLIME!!!!!

When you visit the tutorial for Take a Stitch Tuesday's 34th week, you'll see an example of a nice border. But beware! You can take this interesting stitch to other places. I used a piece of wool felt for the background and let my needle go with perles , #3-#8, or two strands of floss.

I'm thinking Halloween, but see what others are doing here .

LESSON ONE - LA FAZIO CLASS

2010-10-20T13:36:00.000-04:00

In preparation for Day One, I assembled the supplies I had on hand. These included tubes of watercolor paints over 15 years old and a simple plastic pallet with dried gobs of color. There is no place in my house with good natural light except in my laundry room studio, and it is presently too cluttered to work in. I could have tidied, of course, but then I'd've had to move and find places for all the WIP's sprawled across my tables and dangling from the clothesline then go looking for them when I was ready to resume work on them. I finally decided on the kitchen/diningroom table. It's big and under a good lighting fixture. DH's side is littered with medical and banking stuff, but my side is clear. I like to keep it that way in case I ever have to eat there. Doesn't everybody dine off their laps in the den watching the news?

I download, print and read the lesson several times. Indeed I read it correctly; we are to draw then paint real pieces of fruit. When I'm through cringing, I look for fruit. I have one apple and two bananas.
That'll work. But the rest of my supplies haven't arrived yet. Hallelujah, I'll have to wait until tomorrow!

Next day Joggles comes through with their usual efficiency, promptness, and TLC in shipping. A block of hot pressed, 140 wt paper and a Niji waterbrush arrive in the morning mail. I create a pleasant arrangement of apple and bananas. Today I draw and paint fruit -- as soon as I'm loose enough to work. Nervous tension should dissipate once I get started. Except I have a little more than stress to contend with. If you recall from my last post I'm talking drawing angst.
My upper arms go from drum tight to jelly as I try to get down to business. I can't possibly draw in this physical condition. I'm a wuss, a scaredy cat. I'm chicken excrement.

I thought I would operate in lurk and learn mode. I would read the discussion forums but not participate -- and certainly not show my work. Reading through the intros I was surprised there were others who shared my trepidation but were willing to lay timidness aside in order to learn. Today I will draw and paint fruit...

Teacher! Teacher! My husband ate my homework. Today I will draw and paint fruit. An apple and one banana make an awkward composition, but today I drew and painted fruit. My linework is unsteady, testament to my genuine skittishness. A fellow student posted in the forum that she'd shown her work to lots of people, all of whom said they could tell it was fruit. That's all I could ask from this exercise. My fruit doesn't look good enough to eat, but that's okay. It made a dent in my mental block. The next day I drew and painted an acorn squash.

Our class, Jane LaFazio's Sketchbook and Watercolors Journal Style, is quite large so Jane has opened a Flickr pool if you'd like to see our efforts.

SKETCHING WITH JANE LA FAZIO

2010-10-16T12:34:00.000-04:00

I don't know how to draw! There, I've said it. I feel like a book club member who confesses she's illiterate. I never learned to draw. I know it is an acquired skill that takes careful observation, patience and practice, lots and lots of practice. I don't think I ever wanted to learn (well, there were early issues, but we won't be visiting them), never really thought I needed to learn to draw. I scribbled when I had to and got it over with as quickly as I could.

I began this blog as a journal of my creative endeavors. I took a Joggles class from Sharon Boggan called Studio Journals: A Designers Workhorse. As with any Sharon B enterprise, I highly recommend it. I'm actually still working through the course and have several art journals going and new interests in mixed media and paper arts. Cutting to the chase, these working art journals contain scribblescrawlies where there should be nice sketches. No one will ever see them, but I'd like them to look more, more... artful.

When Joggles published their fall class schedule I discovered this:
Sketchbook & Watercolor: Journal Style with Jane LaFazio.

Be inspired to record your life, a special trip, or your daily adventures in a loose, quick journal style format. Jane will guide you through basic drawing, inking and a straight forward intuitive approach to painting with watercolor.

You’ll start with simple objects and progress to vignettes then vistas to draw and paint, and journal your thoughts and impressions on journal size watercolor paper. She’ll encourage you to take a little time to just sit and absorb the beauty around you, sketching and journaling your thoughts impressions right onto the same page.

This 6 lesson class is geared for beginners, but all levels are welcome. Everyone has their own drawing style, just like handwriting, and Jane will help you see and then record that on paper in a friendly, positive and creative way.

Guess who marked her calendar for the October 14 starting date???
I took an earlier class from Jane and have been following her blog ever since. She is not only an excellent teacher, she is a gifted and versatile artist. There was no reason for me to have misgivings about the class (except maybe draw-ing!!!!). Every time Jane posted a lovely watercolor sketch with mention that she was preparing for the class I would gasp, then despair, for that is exactly the style I'd like to learn and I have serious doubts about my capability to do so. A few days before Oct 14 I made the decision to register. My shaky finger hovered over the confirm button quite a while before pushing -- a leap of faith moment.

TAST 2010 - LOCK STITCH

2010-10-14T01:14:00.000-04:00

Take a Stitch Tuesday - Week 33

What I want to know about a stitch are its properties, what it can be made to do beyond the basic. For example, I want to know if its appearance can be altered by manipulating the line or curve, size of stitch components, or giving the stitch a different orientation. Each band in this sampler is a separate experiment. I know the threads I chose make it difficult to see, but this is what I was going for:

Band 1 - The first line is the basic. Foundation stitches are #5 perle and lock weave in #8 perle, different shade. The second line is stitched one background thread below the first and is the same as the first but inverted. Since the space between the two rows is shallow, the scallops that normally occur between thread pairs gives way here to parallel lines. If I allowed greater space between the rows I think I would have opposing scallops as another design option. The closeness of the rows did create a small diamond where the thread pairs meet;

that's where I placed the French knots.

Band 2 - This is probably double lock stitch. I did the weaving top and bottom.

I love the oval/rounded square space that is formed. I suppose it would become oblong if the foundation stitches were longer. I worked a single diagonal stitch in the center with 2mm glitter ribbon. The rest of this band was done with a single strand of Caron's Watercolours, as are all of the following bands except #5.

Band 3 - I simply worked the lock stitch sideways.

Band 4 - You have to look really close to realize here are parallel wavy lines. I know now that the undulation would be more pronounced and more graceful if I placed the foundation stitches closer together in their rows. The different colors are also a distraction from the wave.

Band 5 - I used a skinny rayon cord to make foundation stitches uneven lengths and slightly askew at the top. The result might have been more interesting if I hadn't been so keen on using this really cool rayon boucle yarn that I have so much of because I made a sweater I had to unravel in its entirety because the yarn was so very stretchy. So even though I knew it was too bulky for the size of the stitches I let it stay. I tried desperately to push it down, but it springs back. Color's pretty, though, right?

Band 6 - Working with foundation stitches on the diagonal -- I think this is not the best use of a variegated thread. I also meant to try it with the lock weaving to the center. Another option for later. I get a nice surprise from this band. Can you guess before I tell you further down?

Band 7 - Similar to Band 3, this one is double lock stitch on its side. I used the same thread in both bands, but here I controlled the color.

Here is the sampler on its side so you can see how the stitches look as columns:

Take another look at Band 5. I spy a column of

Sharon B's tutorial for lock stitch and info about TAST 2010 can be found here, and work by other participants can be found here.

TAST 2010 - SHELL CHAIN STITCH

2010-10-09T18:36:00.000-04:00

Take a Stitch Tuesday - Week 32

I love a stitch that meanders. On its own it's about as exciting as a paper clip, which it can resemble when worked as a zig-zaggy line. Fortunately for us, Sharon's sampler showed us the potential for wonderful texture with use of yarns and ribbons and inclusions. This is why I went immediately to a burlap with loose enough weave to accomodate the funkiest of yarns. As it turned out, I only used one , the soft lilac which is a knitted tube of gossamer fiber.

After laying down a few gentle curves, I experimented with a spiral and a simple, daisy style flower. The gold rayon ribbon I used to weave as well as working the shell chain. In the detail below you can see another flower with two rounds of shell chain stitch.

Here's a close up of that flower. For the most part in this sampler I used perle cottons, #3 -#8, doubling some for bulkier effect. The gold thread is an inexpensive one I bought on a large tube in a craft store. It doesn't kink like some metallics and is very easy to sew with, although threading it is sometimes another matter.

TAST 2010 - RAISED CLOSED HERRINGBONE

2010-10-07T00:54:00.001-04:00

Take a Stitch Tuesday - Week 31

Let's hear it for the threads! I started in the center with the heaviest of the threads. It is a #3 perle hand dyed in ametrine hues by Jane Van Keulen, a talented New Zealand artist. The final round of tiny leaves and sprigs is hers also, a rayon floss I used double stranded. It has spectacular sheen and variations of russet. The four large coral-orange leaves were made with a single strand of Caron's Watercolours. They are followed with smaller leaves

stitched with a single strand of Stef Francis silk perle. Finally the border uses 2 strands of Caron's Waterlilies and #11 seed beads. The background is Belfast linen.

I was going for a medaillon effect so I found the center of the fabric and basted lines that would divide the work into eights and used those lines to center the leaves. I was able to alter the shape of the leaves by varying the foundation stitches. For example, the two foundation stitches for the largest leaves are the same length, but the reddish ones have a shorter upper stitch. I realized if I began that upper stitch a little off kilter , I could get a slight curve for my leaf tips.

Although my design is symmetrically based, I tried to bring as much variety as I could. I'm well pleased with the different colors and textures and wholeheartedly give credit to the threads! Precision is for charted patterns. I wanted my leaves, while "posed", to still suggest naturalness, and when imperfect stitches occurred I pretty much let them stay.

Don't forget to see what other participants are doing over on Flickr.

FREE !!! STITCHING TUTORIALS! FREE!!!

2010-10-06T13:14:00.001-04:00

I have been a Sharon B fan for some years now. Still, she never ceases to amaze me with her talent, her energy, her capacity for sharing. She's done it again! Check out her new STITCH FILES. While you're over there on her Pin Tangles blog, subscribe to the feed; great stuff everyday! Bookmark her online Stitch Dictionary, too.
Okay, so you're reading the release info and get to the part where eventually files will be available for sale and you're feeling an aha! Trust me, don't be put off. This is no gimmick. When Sharon puts a price on anything it's a bargain.
Sharon is dedicated to a higher purpose, sharing her knowledge and joy of stitching, design and related arts. I have taken four of Sharon's online courses offered on Joggles. Each class is unique and for me like a semester of study complete with textbook.
If you stitch and adore all things to do with fiber, textiles, fabrics, etc, Stitching Fingers is a must visit!

TAST 2010 - EASTERN STITCH

2010-09-27T00:35:00.000-04:00

Take a Stitch Tuesday, Week 2

Eastern Stitch

I wasn't very enthusiastic when I started this stitch, but the more I worked it the less rigid it became. I could alter the appearance with tension, size and thread, and I found it could go in about any direction. Take a good look at the bird; the stitches have been worked every which way: horizontally, vertically, diagonally, reversed direction, curved to outline, distorted to fill and taper. With the exception of the outer border, bird legs, upper beak and eye, all the stitches are the Eastern. I had already stitched the outside border, but those X-stitches could just as well have been Eastern Stitch.

A note about the feed dish. It's an old button, a 1/4 inch deep cup with scalloped edges. The flat bottom is a 2-hole sew-through (no shank), which enabled me to stitch in the seed bead corn. Got to fatten the hen, you know.

The Eastern stitch tutorial and more information about TAST 2010

can be found here. And you can see the work of other TAST participants here.

TAST 2010 - WOVEN TRELLIS & RAISED CHAINS

2010-09-15T14:20:00.001-04:00

MY STORYBOOK DREAM

I sought a place to have my lunch
Beside a stream of tropical punch.

Fruits and berries came in handy,

But oh! those flowers made from candy.

'Neath leaves of green so sweet and minty

I rested my tummy full of plenty.

Leaning against the chocolate wood,

I tasted some bark and it was goooood.

Fluffy clouds of marshmallow cream

Floated past in my storybook dream.

When at last I woke from my nap,
I found this stitching in my lap.

TAKE A STITCH TUESDAY - WEEKS 27 - 29: WOVEN TRELLIS and 2 VERSIONS OF RAISED CHAIN. These links will take you to the tutorials for these stitches. You can also visit the TAST Flickr Group Pool to view work by many participants.

All of the flowers are woven trellis with the exception of the one centered on the left; it is Version 1 of the raised chain as is the rainbow banner. The circle and scroll are Version 2. A single strand of Caron Watercolours was used for the major elements, although the rainbow and border straight stitches are done with Caron Wildflowers, a single strand. The accents on the flowers and other background stitches were rendered with Stef Francis silk or cotton perle.

At this point I feel obliged to explain the poem. I wasn't very happy with my woven trellis flowers, but they were better than the ones I ripped off another piece of fabric. I didn't really want to work any more and decided to put a hold on the sampler until the next TAST. I worked the two versions of raised chain, and still wasn't at all pleased with the look of the overall piece. No wonder. It was clearly hodgepodge and totally unacceptable to me. I kept coming back to it and adding things, starting with the additions to the major flowers. Before I added filler stitches I pondered for days about the big rainbow thingy. I knew it was a stream of something delicious fed by a soda spring. But how could anybody looking at the stitchery connect to my childlike fantasy. So I wrote the little poem to convey the imagery to the viewer, not so much that I thought viewers would be clueless , but more to my thinking the sampler couldn't stand on its own. I like this stitched piece now. It makes me happy and evokes memories from the naive imagination of my childhood when my mother read me stories about candylands, sausage trees, lemonade seas and popcorn snorting dragons and Shirley Temple sang about the Good Ship Lollipop.

TAST 2010 - SIENNESE STITCH

2010-08-14T06:09:00.001-04:00

Take a Stitch Tuesday, Week 24
The Siennese stitch may look like a cross stitch, but it is constructed quite differently. Click on the link above to see the tutorial. There is a twist in the thread at the center that provides texture to the stitch, but it's difficult to see when rendered in a dark thread or in a smallish stitch.

I experimented with 11 different threads and yarns to make the Siennese stitches. You can see I've used them as individual, pattern grouping, and couching stitches. I think the background is a 28 ct. lugana. The grid-thingy is a piece of latch hook canvas that I dyed. Here's another orientation.

Take a look at how other participants are interpreting the TAST stitches!

TAST 2010 - TRIPLE & WAVED CHAINS

2010-08-10T19:13:00.000-04:00

Weeks 22 and 23 of Take a Stitch Tuesday - chain stitch variations. Not much to say here; the stitches were easy to work and and afforded some interesting possibilities for change. With the triple chain I played with the orientation of the side chains and then placed the triads in different arrangements. The zig-zag one doesn't show up well; I should have used two strands of floss to stand up to the #5 perle. I worked this pattern using two needles.

The wreath is made from two different variegated green threads, but I did not work the leaves in pairs. I worked stitches in one color first and then filled in with the other. The two vertical lengths of waved chain are similar and used the same double strands of floss. In the skinnier one I work each bottom stitch through the same hole.

A word to thank all of you who read my blog and take time to leave much appreciated comments. I am not ignoring you! I do love to look at your work and leave feedback and hope to resume that practice again.

TAST 2010 - SLIPPED DETACHED CHAIN

2010-08-01T14:34:00.000-04:00

TAKE A STITCH TUESDAY - WEEK 21

I like the way the slipped detached chain can make blossoms. My background is cotton duck. I did a running stitch border in a rayon cord and later, to my regret, wove in the novelty yarn which I now find distracting and would remove, were I to have another use for this sampler.

I laid foundation columns of feather stitch with a single strand of Watercolours ("wildberries"?) then proceeded with the blossoms in the same thread. I worked from top down and started with single slipped stitches, then double and finally triple toward the bottom. I wanted the droop effect atop the second column, so I used French knots to represent spent blooms, followed by reverse pointing single slip stitches for fading flowers, then proceded as I did with Column 1. To bring filler to some of the negative space I stitched a "background" vine in the rayon cord, leaving it unembellished. With some #5 purple perle I made a few bees. It occurred to me to make a butterfly using 2 detached chains with the slipped stitches between them, but I didn't really know where to put it.

Back to the border. I like it on the right side. On the left it competes with the floral column, and it's bugging me so much I've got to remove it. Yes-s-s-sss.

TAST 2010 - BUTTONHOLE WHEEL CUP

2010-07-19T18:24:00.000-04:00

Ole! Week 20 of Take a Stitch Tuesday: buttonhole wheel cups. I started with wheels that were too large to create, say, a lily of the valley blossom, but I still managed some variations using the basic technique. I forgot to take a pre-embellishment scan; it would have made descriptions easier. I did like it plain, and could easily have filled in with small cups and partial fans. I'll explain each flower starting at the top and from left to right:

Row 1:

1) Large yellow wheel with picot edging and woven spokes (2 spokes up, 2 down). thread is a variegated perle (DMC, I think).

2) Coral wheel, worked from the inside and pulled tautly to create spikes on the outsidew (most are covered). Thread is one strand of Caron Watercolours.

3) Large rainbow colored wheel (Caron Wildflowers "Tahiti"). It's a little hard to see, but there are 2 ruffled edgings. After completing the first buttonhole round, I began another toward the inside.

4) Multi wheel with buttonhole worked from the outside as shown in Sharon's tutorial. This wheel had 16 spokes. I first tried wrapping them four at a time, but the resulting triangles were not even . For the do-over I wove up and down four spokes at a time. I tried changing the up and down positions about halfway, but it looked untidy. I left it as you see and put a French not in the center. The thread is another Wildflower colorway.

Row 2

1) Small Tahiti wheel, edging to the center.

2) This wheel has lots of increases in the first couple of rows, then I started decreasing to pull the edging toward the center. It's like a pouch. I could stuff it and gain more dimension. I think it resembles an upside down Rasta cap with its Carribean colors.

3) Small yellow wheel gets it bumpy texture from working 3 buttonholes in one stitch then 1 in the next. It is worked from the inside toward the center, the same as the 3 coral wheels.

4) Coral wheel, see above.

Row 3

1) Coral wheel, see above.

2) This is worked like #4 in the first row, except there are 14 spokes, the weaving over 2 spokes at a time. One round of buttonhole edging.

Now I'm off to pack. I'm taking a quicky trip to CA to see my dad who is now home after several weeks of hospitalization. It's a brief visit between DH's chemo treatments. I'm pleased to say both gentlemen are doing well, and so am I. I'll be working on Week 21 out there!

TAST 2010 - SWORDS, WAVES, FEATHERS

2010-07-09T16:51:00.000-04:00

I'm sapped. It's stress. My work here lacks the sense of stitch adventure I usually try to convey. I enjoyed the stitches, and it wasn't as though they didn't lend themselves to creative re-interpretation, I just didn't have the energy to think outside the box. On the other hand, I am caught up!

WAVE STITCH - WEEK 18
I started with a piece of fulled wool. There was a piece of dyed cheesecloth stuck to it like it wanted to stay. I spread it out with no particular shape in mind, and I let the rest of the scrim dangle because I didn't have any scissors at the time. There were also bits of threads stuck to the cheesecloth, so they got to stay, too, and eventually I added more snippets. With nothing special in mind I started working the wave stitch with a variegated #5 perle. I liked the way the cheesecloth sort of pouffed through, so I kept going. After a while I turned the piece upside down and started down from the opposite side. Not sure where to go next, I rotated the piece and considered the possibilities (remember, there's still a glob of cheesecloth hanging off one end!). A plumed helmet? With stuff dangling from the earlaps, perhaps? A vessel? There's something about that concave -- a maw. And teeth! I'd found my direction.
I worked wave stitching from both sides until I was about a row apart at the center. I simply laced to join. For the tail I cut off the excess scrim to leave enough to fan out. I stabilized the tail with some gathered tulle that I stitched from behind. I knotted in streamers, and these are longer that what you see above. Finally I added a button eye so you'd sense it was a creature. That's as playful as I could muster.

WEEKS 17 AND 19 - SWORD AND UP AND DOWN FEATHER STITCHES

The chain stitch was already on this piece of linen . If you look at the large blossom you can maybe see where I worked 7 sword stitches, hilts to the center capped with French knots. I then placed lazy daisies around the blades of the swords. I'm not sure what the thread is, but it's a boucle cotton. It was my first time using it, and I like the effect. The smaller flower is worked like the larger ones. I used two strands of cotton floss to make sword stitch greenery. I used a variegated #5 perle to work the first layer of up and down feather stitch, followed by a layer of 2mm rayon ribbon, and finally a few stitches with 2 strands of floss (blue). To fill space I added a few vintage buttons.

TAST 2010 - ITALIAN KNOTTED BORDER STITCH

2010-07-03T13:21:00.000-04:00

Take a Stitch Tuesday - Week 16. The Italian knotted border stitch looks deceptively like the knotted fly stitch. Once you work it, though, you realize the major difference is where the knot lies. In the Italian knotted stitch, the knot, specifically a French knot is formed outside and below the "V". In knotted fly, the knot is created in the V before adding the stem. In other words, the French knot is the stem in the Italian version.

I began in the center with a single French knot, around which I placed 4 Italian knotted stitches, knots inward. Then over each leg I worked the same stitches knots facing outward this time, and I worked in an extra stitch wherever there was a gap. Next I worked stitches knotted outwards , beginning the legs from the previous row of knots. The I worked a round of overlapping stitches. This inner "flower" was done with two strands of silk floss. I switched to a single strand of Watercolours and worked a circle of French knots around the flower.
From those knots I worked a round of Italian knotted stitch, knots outward and surrounded by two lines of laced running stitch. The final border is comprised of pairs of Italian knotted stitches worked knot to knot, French knots in between.

TAST 2010 - LADDER STITCH

2010-06-16T00:28:00.000-04:00

Week 15 - Ladder Stitch was love at first try. It can be worked in a very orderly fashion. Even better it can be varied both vertically and horizontally, shaped, worked solo or side by side. But best of all can be woven leading to myriad other possibilities. Here is a stitch I can play with. I was delighted with this little bit from my doodle cloth. At first glance I thought it was pretty cool just as an abstraction. Maybe it's all the Zentangling I've been doing lately; I sense a hint of 3-D perspective.

I didn't have too much in mind for my sampler other than a composition of grids. It was when I started weaving in parrot colorway that the idea of feathers arose, and next came the challenge to see if I could build an avian shape with just ladder stitch. This is what I came up with free stitching (no pattern or outline). I think it's recognizeable as a bird?

Although I'm through with this for now, I seriously thinking of going Crafty Chica and adding sequins & beads to the background. Pity you can't really catch the glitter cord sparkle.

TAST 2010 - BUTTONHOLE HERRINGBONE

2010-06-07T13:30:00.001-04:00

Waiting on DH in another doctor's office, I'm working on Week 14 of Take a Stitch Tuesday. After a short time a young girl sitting across from me says, "I like what you're doing there." Never one to disregard a child's curiosity, I invite her to sit next to me to see first hand what I'm doing. She was intrigued by the very things that appeal most to me, pleasing colors and lots of textures. She was delighted to touch the sampler and oooh'ed as her fingers stroked the silk ribbon, and I was tickled that she picked up on the glittercord right away.

I reached into my thread bag and showed her how she could feel the difference between silk and cotton. I was sorry I had no extra cloth with me or I would have her stitching in no time. I had to settle for her promise that she would ask her grandmother to teach her embroidery. I got no stitching done for the remaining wait, but I had the most extroadinary conversation with a young lady far beyond her 11 years. We discussed our art interests which turned out to be mutual, as well; we pretty much ran the gamut of fiber arts. DH showed up just as we were creating Zentangles, me on the back of my shopping list, she on an electronic device with a drawing program. Time well spent. And from now on my activity bag will include not only extra stitching supplies but knitting needles, yarn, crochet hooks and small pads for Zendoodling. I intend to be prepared for the next teaching opportunity!

The first band started out as an up/down, every-which-way line of stitching that was probably more in line with my mood while I sat out DH's routine colonoscopy. His results were fine, mine not so much. I frogged it completely and replaced it with two repeat rows. By the way, all the herringbone in this sampler is worked in #5 perle cotton. The first band is buttonholed with a variegated perle from Anchor.

The whole time I'm working on this stitch I'm thinking of ways to depict waves. The variation I made in the second band was to alternate the peaks and valleys in the two rows. The buttonhole portion is a single strand of Caron Watercolours. If you look at the last part of the second row, you'll see it's more angular than scalloped. I left it that way to show I experimented with working the buttonhold upside down. My conclusion is the scallops lay better when worked right side up.

Band 3 is double herringbone buttonhole; ie, both layers have buttonhole over the foundation herringbones. I suppose it would have looked more interesting if I had "woven" the second layer, but I wasn't energized enough to try. The underlayer of buttonhole is worked in cotton perle, possibly Caron Wildflowers, the upper layer is 2 strands of silk floss from Vikki Clayton.

Turn Band 4 on it's side for a short/tall effect. I think this would work well for waves (picture different blues and pearl or crystal beads for white caps and spray) or for purple mountains' snowcapped majesty. And note to self: use a thread with less contrast for the foundation herringbone. Young Jada asked me two questions. After explaining the TAST challenge and how it works to her, she wanted to know what kind of prizes were we competing for. I hope my answer sunk in, that our reward comes in learning something new, trying something new, and that through our online show and tell we garner inspiration and encouragement to go on doing what we do just because we love to do it. Of course then she wanted to know what I was going to do with the sampler. I didn't think it prudent to say it would probably end up in a box or drawer with like pieces, so I suggested ways I could use it by making it part of something larger, like adding fabric and making a purse or a book cover or lid for a special box. Jada thought it would be way cooler for me to stitch all my samplers together like a quilt. It was sort of like our coversation. One thread led to another until everything was unified.

TAST 2010 - RAISED CUP STITCH

2010-05-28T11:10:00.000-04:00

OMG is that background what I think it is? It is if you're thinking towel! I made a batch of Earl Grey tea stain the other day and couldn't just pour the leftover down the drain. What was handy was a threadbare dish, er, tea towel I'd used as a blotter from my last dye session. "I wonder what it would be like to stitch on?", I mused as I stuffed it into the Pyrex measuring cup that held the tea. As soon as the towel was rinsed and dried I found out.

I finished Week 12 early, so I was happy to keep my fingers from wriggling in anticipation of Monday Night and the latest TAST temptation. I worried (not really, this was a rag!) about embroidery needles and sharp points catching on tiny, terry loops, but since the velour finish had long ago worn away from the printed front side, the fabric was very giving and yielded to my large tapestry/yarn needles with ease. For this sampler I ended up using only #5 perle cottons and fingering weight wool/silk yarns.

About 2/3's down I started a line of twisted chain. I wanted a little more height so I layered a second row right on top. You can see I got much better dimension with yarn seen in the single layer of twisted chain below (brown). The gray line is knotted buttonhole stitch threaded with a piece shiny raffia, probably something that once tied up a package. Seems like I had just gotten down that charcoal line of Sorbello than twas time to download Week 13, Raised Cup Stitch! Am I the only one who has a pavlovian response to Sharon B's challenge posts?

I got all of those raised cups stitched waiting in a doctor's office for DH. They are all worked with the silk & wool yarns. I love their organic shapes, how they flop and smoosh together. The white one in the center is an example of decreasing to make the cup turn inward. The coppery bit you see are "stamens" emanating from a French knot. I added irregular cretan stitching awaiting DH's lab work the next day, routine medical, btw. I was satisfied that that finished the upper portion, but had to experiment a bit to get the rest as you see below.

I tried couching down some pussy willow yarn, had a little spiral going, but the color seemed to light. I made it worse by weaving in a darker yarn. Ugh. Check out the raised cup centers, wooden and agate beads too big, faux pewter spacer beads. No, no, no. Too fussy. Not in keeping with the rustic look I wanted.

What was I thinking? That thing ,btw, is a freeform crocheted motif that's been waiting around forever to unite with its kind to become a scrumble.

So I end up with unfilled cups and graduated French knots on the bottom. Swapped out some of the beads in the other row with French knots -- and

a bullion (white cup on the left!).

And now a sort of tutorial. Working the raised cup stitch reminded me of a motif I learned a few years back on the CQ Embellishers forum. I was thrilled to make it, especially since I hadn't learned any fancy stitches. The other Embelles used this effectively as sea anenomes in some of their wonderful underwater fantasies. The motif is so simple, it really doesn't require illustration.

Thread a tapestry needle with yarn or chunky thread. I find this easiest to do on my left index or little finger, but a pencil could be used instead. Begin at the top finger joint and wrap the yarn upwards about four times, covering the tail as you go. Wraps should be loose enough for you to work the needle underneath. Pass the needle downwards behind the wraps, holding the top coil with another finger. Now work around buttonhole stitch around, pushing the

stitches close together. When the round is completed, weave in the end. You now have a little ring motif you can stitch to your work and embellish with beads. I used to like to make these using a funky variegated yarn, sparkly and frizzy. They can also be used to make little nests as in the example below

This is from my project for Sharon Boggan's Encrusted Crazy Quilting class. If you haven't tried one her courses, you do not know what you're missing. They are outstanding and comparable to a semester of study complete with textbook.

TAST 2010 - SORBELLO

2010-05-20T00:40:00.001-04:00

I've become a real fan of knotted stitches for the extra texture they provide. Sharon B gave us beautiful examples of Week 12's Sorbello stitch, which makes interesting patterns when used in repeats and presents itself nicely for the addition of bead embellishment. She had one example of the stitches worked densely together as a filler, and she varied a thread or two adding color and textural variety. I really liked the appearance, but I didn't want to copy her application. I chose to apply a similar version as a border. My stitches are more open, and I used a single variegated thread (Watercolours, one strand).

It's dense and textured enough, though, that glancing at the actual cloth, the stitching almost looks like crochet or chunky cotton lace.

My next variation was going to be a line of elongated stitch alternating high and low positions of the knot. I discovered it was easy enough to work side by side stitches this way by varying the tension of the first part of the stitch . When I went to work it on my sampler, I decided to do it in two passes, working the upper knotted stitches and leaving spaces for the lower knotted ones to be filled in afterward. Using a single strand of a different Watercolour thread, the stitches were too dense. Too many threads made the line too busy and the high-low knot effect got lost. I'll try the technique another time, maybe even experiment with alternating colors.

After removing the second pass (lower knotted) stitches, I decided I liked the spacing, which led me to place the lower knotted stitches directly below their counterparts, creating a nice diamond in the negative space (perfect for a seed bead or French knot?). To me the obvious next move was to at least partially fill the spaces between the stitches and balance the high-low with a centered knot at the join line. For this I used 2 strands of hand dyed cotton floss that matched the deeper colors of my border thread.

At this point I realized my remaining stitching space was limited; spirals, curves and the like would have to wait for another project. I opted to repeat the first two rows. This repetition gave me another the appearance of little circles (a skinnier thread would have produced little diamonds). Nice. I could have left the sampler alone at this juncture, but something else was needed to fill the void between stitches of the center two rows. I thought X's like I did in the other rows would crowd and distract from the little O's. I didn't want to introduce a new thread either. I took a single strand of the floss and made the elongated, center knotted X's. I like the look. The background space is filled but subtly. There is certainly room still for beads and French knots, but I'm going to let that go -- for now.

TAST 2010: BULLION BUTTONHOLE

2010-05-16T18:36:00.035-04:00

The stitch for the 11th week of our Take a Stitch Tuesday challenge is suitable for a variety of applications. In terms of CQ seam treatment, I doubt it can be beat in its potential for embellishment since the combinations of stitch variations with sequins, beads, ribbons, buttons, charms and other threads seem limitless. The bullions (and mine are hardly exemplary) require time and patience but are so worth the effort.

I used a piece of Procion dyed Aida and worked my samples as they might appear over a seam, but certainly they provide enough interest and texture to be included in a contemporary embroidery project. In the first row I used #12 silk perle from Vikki Clayton; I've had this for some years and I doubt she stocks it anymore. I worked the buttonhole upwards and downwards in one pass. I varied the height of the bullions but kept the variations symmetrical. I left spacing for additional embellishment like buttons or flower beads, but I opted to try a little SRE, a loose French knot (aka Montano knot) and a petal. I filled all the spaces but it was too much, and you can see where I didn't take time to scratch over the stitch holes. On reflection I deem the SRE here out of proportion with the more delicate stitch size. A poor choice, but I just wanted to get an idea. For the record, all the bullions were straight; several got ruffled though when I removed the silk ribbon stitching. I actually like a version that would be more relaxed with some of the bullions drooping, not sloppy, just an occasional irregularity.

The second element is comprised of two rows of bullion buttonhole worked close together and then laced with a decorative cord. Space is left between the bars of bullion for additional embellishment. Ribbon or some other thread or yarn could easly be threaded under those bars. The basic thread here and in the next pattern are both single strands of Caron Watercolours. I'll talk about the cord in a minute. I wanted to add, I really like the way some of the bullion clusters nestle and curve together. Another time I would try to make them all appear like that, a softer, less rigid look.

The final section is again two rows worked in a curve with a little more space between them. I thought a line of beads worked as a center row would be pretty. You're surely aware that were this to be a finished decorative project I'd probably have beads all over the place, especially crowning those bullions.

What I did instead is run the cord under the bullion rows, and it's a shame it's not showing up that well because it is a sublime thread!

Glitter cord it's called, and I found it in a fiber art store in Christ Church , NZ.

I bought a couple of skeins and hoarded them until recently when I discovered I could purchase more and so much more directly from the artist, Jane Van Keulen. When you visit her website, take time to peruse her gallery and see her lovely work. Back to the Glitter cord. Jane's colorwork is scrumptious. That alone would be enough, but this cord has additional properties of being soft and almost sensuously slinky the way it drapes over hand and fingers. It's too bad the sparkle doesn't show up in these pix.

TAST 2010 - CLOUD FILLING

2010-05-08T16:38:00.000-04:00

I found this Week 10's stitch could be light and airy, make a linear statement of its own, a wonderful seam treatment with unlimited possibilities for embellishment. This little sampler was stitched on a piece of woven raw silk, very burlap-looking, that I dyed with saffron for a recent class at Quilt University with Marjie McWilliams.

I really liked the way Row 1 turned out. I made the foundation bars with two side by side stitches, but because of the looseness and irregularity of the background weave it looks like I stitched little v's. For the first layer of lacing I used #5 perle in yellow, and because it doesn't stand out on its own, I added a second layer by lacing through the center bars only and going under the background thread directly below the top bars and above the bottom bars. The result is like a row of spiders, and I think I'm going to have to file this idea away for a future CQ or Halloween project. The detail to the right shows how I vertically worked this next segment . Obviously it was a waste of time because the stitching looks the same on its side! Two strands of metallic floss were used for lacing. The sparkle seems to have gotten lost. Below left is a closeup of the lace yarn I used. If I pulled it taut I would just have a line of navy; however, the looseness and ease of the yarn made it possible for me to pouf it out. If this section looks uneven, it is. I laid out the foundation bars in a gentle wave. The the rows of stitching are parallel, so the lacing follows the undulation. A less bulky yarn would have shown this better. The fourth segment is an experiment that didn't work for me here with my choice of lacing yarn, a tweed, cabled cotton in a heavy worsted weight. My plan began with the base of detached chains with the tack-down stitches pointing inwards to accomodate a second lacing. Nothing I had on hand provided enough contrast, so I left it bare, and although it begs for further embellishment in the center, you can see the design I was going for with the graduated spacing of upper and bottom chain stitches. Here the center anchors are beads which stay in a straight line unlike the beads in the previous section which parallel the top and bottom rows.

The final section of the sampler shows top and bottom row anchors as bullion stitches. I am definitely not proud of these. They have a rather gnarly appearance mainly because of insuffienct wraps. I used beads again for the center row. I would have used them to help camoflauge or tidy up the bad bullions, but I didn't want to waste the beads. Lesson learned.

TAST 2010 - RAISED HERRINGBONE BAND

2010-05-03T13:46:00.002-04:00

For these weekly studies I rarely plan a design first. If the stitch is new to me, I practice the basics on a doodlecloth . When I can grasp the mechanics of the stitch, I don my thinking cap then may or may not scribble down the variations I come up with. From this point I pretty much work spontaneously, although I do strive for a reasonably balanced composition. I'm no stranger to the frog pond. Sometimes experiments fail or need to be further modified.

This stitch was somewhat deceptive in that it changed with each layer. Combinations of threads and yarns I thought would work, didn't always.

I started with scraps of onion skin dyed Aida and cheesecloth. I think scrappy, shabby and rough were in the back of my mind. Generally I begin with what I deem will be the largest of stitch elements. In this case it's the shaggy diagonal.

Instead of a satin stitched foundation I used a piece of oversized, faux suede ric-rac. I centered the herringbone over the zigs and zags and then wove in the chenille yarn. Next was the light blue diagonal in #8 perle. The herringbone is worked in silk/wool yarn, and the lacing is cotton suede. I used the same yarn for the satin stitches on the curvy diagonal that intersects the ric-rac bar. This element was intended to show curves and irregular foundation width. Blue herringbone with French knots are two strands of cotton floss which is then woven with a strand of Vikki Clayton's silk perle from her dragon series. I don't know if she still produces this color, but it's been one of my faves and now I'm out of it because I used it liberally throughout this sampler. You can see it clearly in the unembellished, uneven satin diagonal in the lower left and echoed in the two vertical curves of satin foundation on either side of the big spiral. Those two have cotton perle (#10 or#12) herringbone and then laced with strands of eyelash yarn (those are the brown strings you see in the picture, some of which are copper metallic). What's really neat, to me, is the way the lashes arch and hang over adding a third dimension to the sampler. A shame that effect doesn't show up in the scan (how could it, the lashes are all smooshed down!). I later worked the same dragon perle as a running stitch border line before fringing the background fabric.

The large spiral is worked in Caron watercolours . It stands "naked" because nothing I tried worked over it to my liking. Ditto its counterpoint circle in the lower right. This leaves the, um, motif in the upper right. The horizontal brown bars are #8 cotton perle, as are the vertical blue ones. Just for fun I wove one of the intersections. Herringbone is worked over and beyond the horizontal bars in Caron wildflowers (same color as the spirals) and laced with an elastic cotton yarn that's nubby with metallic copper flecks.

I encourage readers to discover how other participants explore the TAST2010 stitches. Please visit our Flickr group site.

HAPPY DERBY DAY

2010-05-01T16:14:00.000-04:00

My daughter cruelly emailed this picture of the Derby style pies she made. She is in New Jersey, so I won't get to partake. I will not be eating Derby Pie, Pegasus Pie or any other Derbytime treat today. The party to which we were invited is an outdoor affair, and if you're watching Derby coverage on TV as we are, you know it is wet, chilly, and generally yechy weatherwise here in the Bluegrass.
At any rate, we are still of good cheer and wish everyone "Happy Derby!" May your pick horse win!!
I'll share a little local culture for you. Derby Pie is a trademark name protecting a proprietary recipe, but just about everyone who bakes in these parts has their own version. Original Derby Pie is a like a pecan pie with walnuts and chocolate chips. I have two fave versions and both use pecans; one includes a hint of bourbon. To me the pies cannot be served without whipped cream. Btw, I will share my recipes freely, just ask.

TAST 2010 - FANCY HEM STITCH

2010-04-24T00:22:00.002-04:00

WEEK 8 - FANCY HEM STITCH

This stitch was easy to work and offers endless possibilities for variance and additional embellishment like weaving or beading. For this sampler I let the lines of stitches stand on their own, as I wanted the colorplay to be evident.

The background is another swatch of hand dyed cotton. The color is a yellow orange with mottles of burnt orange. The threads are all DMC #5 perle, except for the variegated ones which are Caron's Watercolors.
Mostly I experimented with stitch size and number of wraps. Here's what I did starting from the top:

Row 1 - Smaller stitches, with foundation lines close together with maximum wraps around the bars.

Row 2 - Same as first row except fewer wraps. I discovered with stitches this small I was able to keep the wrap thread entirely on the surface.

Row 3 - Slightly larger length and distance between foundation stitching. With moderate number of wraps the diamond and "x" are apparent, offering perfect placement for beads.

Row 4 - Stitches are the same length as 3, but foundation lines are further apart and wraps are limited to 2.

Row 5 - Here I laid down 3 foundation lines not too far apart. I alternated lines wrapped in each stitch; ie, wrapped lines 1 and 2 the first half of the stitch, then switched to wrapping 2 and 3. Alternating wraps opens the possibility for additional patterning. I worked mine to form a zigzag.

Row 6 - Varying the height of each stitch. I imagine this could be worked with greater irregularity for an abstract or distorted look. To keep wrap tension even I was limited to the number of wraps per stitch. I realized a problem when I had finished; some of the threads coming and going from the cloth beneath the wraps show. I'm thinking about ways the larger stitches could be embellished. An "X" over the wraps, partially wrapping or faux wrapping the wraps, lacing different fibers or ribbon are some of my ideas.

Rows 7 & 8 - Show the stitch can handle at least a gentle curve.

I have not stitched the sampler onto the sangria fabric, and the knotted snippets are not attached. I just laid them there for effect.

You can see samplers from other TAST participants (at least 200 from all over the world) at the group Flickr site.

TAST 2010 - ROPE STITCH

2010-04-20T01:01:00.001-04:00

ROPE STITCH - Week 7 of Take a Stitch Tuesday 2010. It took me a couple of days to figure out this stitch. It's not difficult, but I often have trouble when orienting thread under needle. Remember I'm the one that has yet to master the very basic picot stitch in Hardanger. Hopefully you can see my progress.

The background for the stitches is a scrap of hand dyed Aida cloth. I worked all of the columns from the top and began on the left. The first two columns are #5 pearl; the only difference is the number of threads. Boy, the picture sure shows up the inconsistencies, and YIKES!, I moved over a thread about half way down . Column 3 was loosely stitched with a strand of Caron Watercolours. It looks sloppy. I think the reason it's uneven in places is that when I tried to take out a stitch or two it was it was
hard to pick up again. I finally got the hang of it toward the end.

Column 4, I made the coils closer together, and it looks neater. I had no difficulty creating the circle. Column 5
looks like a whole 'nother stitch. For this I made the coils right up against each other. It's like satin stitch with more dimension. Column 6 was worked with silk and wool fingering yarn, and it behaved beautifully. Not so with the slippery rayon thread I used for the first layer of Column 7. I stitched a second layer with the Watercolours, staggering the start.

Notice anything different about Column 8? Nothing remarkable except I worked this and the remaining rows in the opposite direction. See how the coils slant in a different angle?

I stitched the little sampler onto a piece of batik, the colors of which remind me of sangria. From here on this becomes a work in progress. I'll likely play with more buttons and threads.

P.S. In response to Connie's remark that I may be too self-critical, I have to say I do try to be objective. This is a case where the sampler doesn't look that bad in the fabric, but I confess to shock when I saw it enlarged on the screen. Every flaw (just spotted another, but I'm not talkin') seemed to fly in my face. My posts usually detail my personal learning process of which self evaluation is an important part. When I make mistakes, I share them. I suck up the embarassment and remind myself that some muse wants me to learn by trial and error, to keep myself honest, and ego in check by experiencing creative lessons in humility. :-)

TAST 2010: BUTTONHOLE EYELET FLOWER

2010-04-11T18:53:00.000-04:00

I haven't viewed any of the other samples from the group, but I suspect my flowers may appear a bit different. They certainly don't resemble anything close to Sharon B's prototype. Still it was a good experience for me, always nice to add a flower to the stitching repetoire, and it did force me to practice multiple bullions.

The background is hand dyed silk from Vicki Clayton. I began with the red petalled flower. Um, the flower was supposed to have only five petals, but I don't think it matters how many. What's wrong with my petals is I was inconsistant with the number of bullion wraps, so they are not equal size. I then switched to the three smaller versions. I did count wraps. They look askew, but really they are even and could lie flat if I pressed them or tacked them down; I preferred to let them have their more dimensional look.

I got bored with the basic flower, so I surrounded the second large wheel with two rows of flat-lying but curving bullions. Then I worked the bullion "rose" between the 2 large flowers. I began with a French knot and used different threads and colors for the petals. I made bullion clusters next.

Looking at the goofy flowers stitched "naked" onto a piece of cloth, I decided I needed some kind of coordinating element. This is what happens when one doesn't plan ahead and design first. I added stems and leaves. I'm sorry, I have to laugh, and it's perfectly okay for you to join me. The first flower looks like it's wearing a hat (It's getting close to Derby time here), and the other big flower sprouted wings and looks more like shield backed by crossed spears. Seriously, what's wrong here is no focal point! Seriously-er, what's wrong with me? The challenge does not call for a finished piece of art; no more than the exercise of practicing a new stitch on a doodle cloth is required. Forgive me. I type with tongue in cheek.

The hand dyed (be me!) gauze drape is a nice touch, yes? I have to brag that the silk perle and ribbon are also hand dyed from my red cabbage experiment. I forgot to say the cotton perles used for the flowers were all #5 DMC and the rest is Watercolours.

So what's with the business to the left? Well, it may or may not be a preview of next week's TAST. I had in mind to try partial buttonhole wheels as a seam treatment. I hand stitched on a piece of blueberry dyed linen with the idea that I might continue the colorway next week. I might -- or not.

TAST 2019 - Knotted Buttonhole Stitch

2010-03-30T19:29:00.000-04:00

As you see I continued this week's stitch on the same fabric piece as w\Week 4. I like this stitch because you can work it in just about any direction. I've used this stitch before, so I did only three things with it this time. On the left is a green patch where I tried to similate grass using 6 different threads. I overlapped the rows (working from top to bottom) and made the stems different sizes and working a few of the stitches under previous ones. The middle section looks kind of chaotic. What I attempted was to create twigs with the buttonhole stitches worked from either side. Most of this area was done in #5 perle, but I used a single strand of Watercolours to work a couple of "sprigs" and also the French knots. On the right is a spiral. I love how this stitch holds a curve and how the little stems also curve. I finished early, so I now have plenty of time to practice bullion stitches for next week.

Below is the whole sampler for Weeks 4 and 5.

TAST 2010 - Portuguese Border Stitch

2010-03-29T12:43:00.064-04:00

Portuguese Border Stitch
Originally uploaded by Fiberdabbler

Perhaps I should explain the funky background first. I know you would have difficulty recognizing it, but it's from the same sheet fabric and experimental session I talked about in my previous post. I was playing with Dylon cold water dyes. I honestly don't remember if this piece of cloth was used as a rag for clean up or if I was testing colors. Whatever. I rusted the colored results, the ran Shiva paintsticks over a rubbing plate. I found this piece stored with my textured surfaces samples. The lines on it made me think about the spirals and concentric arcs I wanted to try with the challenge stitch. I was thinking about the paintstick lines as a shortcut for marking where I wanted the foundation straight stitches.

I covered the area I planned to stitch with straight stitches following the contours of metallic lines. I left some of the even stitching bare, as you can see, but hidden below the overweaving are straight stitches of varying length and orientation. I tried several alternatives weaving over the bars: 1) changing direction from one row to the next; 2) single passes only
(eliminating the second journey); 3) changing direction of the single journeys from row to row; 4) working the two journeys over side by side short stitches instead over one longer base stitch; 5) I tried stairstepping using the two stitches in (4), alternating from one side to the other trying to make a zigzag appearance; I could not get it to work, and 6) weaving or lacing in such a way there is only a single strand look; result -- looks like the rungs were just looped or laced; I couldn't get the same V shape as in the original stitch.

Cotton perles were used and in one instance two strands of floss. I'm not sure what the variegated boucle is, but it certainly enhanced the texture. The rows below it were worked with a single strand of Watercolours with very subtle changes.

REALLY LATE HOMEWORK

2010-03-29T11:07:00.000-04:00

A year ago I was happily absorbed in an online class with Linda Monk and Carol McFee. Please refer to my only public post (there was a wonderful disscussion forum with the class) for a little background and a feel for my obvious exhuberance. Despite other projects that did get blogged, I never stopped working on my textured surfaces. I spent happy studio hours until the day before I left for CA for the summer. I regretted having to leave the work behind and also that Linda's and Carol's incredible book, Stitching the Textured Surface was not yet available.

Last fall I did get the book and downloaded the accompanying online class, a truly exceptional bonus, but have not had time to get back in the groove. What I'm going to show are experimental samples. The mediums and background treatments are recorded in a notebook. It's the notes I was after to work on a mullti med project for , yes, another class I'm presently taking, Kimono Collage with Jane LaFazio. More about that in the next post.

You can see all of the samples with brief descriptions here on my Flickr site in the Textured Surfaces set.

RED CABBAGE CONFESSIONS

2010-03-25T14:23:00.000-04:00

I met DH to be in the Tuborg Brewery in Copenhagen where he rescued me from the unsolicited attentions of a Tunesian pilot. What really made him my hero, though, was a footlong hot dog smothered with red cabbage! He bought me all I could eat at a little stand in the Danish countryside. He and his brother and I glutted ourselves and still revel in the memory of that simple treat.

Above are samples from my Quilt U dyeing class, using different mordants with a red cabbage brew. I dyed linen, PFD muslin, cheesecloth, silk ribbon and perle floss, and in the middle right side there is rayon ribbon.

I have another half a cabbage in the fridge, and yesterday I purchased European style footlongs! ;-)

I could not resist playing more with saffron. I began soaking the samples above in the leftover saffron brew from earlier, but only got the palest hint of yellow, so I added a pinch of tumeric to kick it up. Here I've got cheesecloth, muslin, linen, raw silk, silk ribbon, and cotton perle.

Here the blah results of my blueberry tests. They are drabber and grayer than shown.

Okay, a couple more confessions. Only starving university students are likely to order fried eggs with roasted potatoes and red cabbage -- had to have been a lunch special at a neighborhood Gasthaus. My friend (come to think of it, she was one of my female cohorts in Copenhagen) and I were enjoying the meal when we noticed something blue on our plates. Mold? We sent the meals back to the kitchen , but after a few bites discovered more bluey purple splotches. We complained again. This time the cook came out and

mixed the red cabbage with the egg white. We finished our blue eggs. Mmmm.

I once tumped a full crockpot over in my car. Clean up was laborious, messy and stinky. I know you've already guess what was in the pot. Yes, sweet and sour red cabbage! BTW, I used to make it with red wine vinegar and currant jelly.

TAST 2010 - BEADED HEDEBO EDGE

2010-03-24T23:20:00.000-04:00

This week's sampler is worked on hand dyed fabric (Cashel?) with DMC pearl cotton. Blue beads are #6 seed; the yellow are cubes. The fargo rose uses 7mm silk ribbon that I recently dyed with saffron. As we are encouraged to do in the TAST challenge, I looked for different or less obvious ways to utilize the given stitch.

In the first row I was trying to see first if the curve could be worked in or out. It can, but you may have to change direction if you can't work the stitch backward. Next I wanted to see if it could be linked by shape.

When I finished the "squares" , I realized I had created little frames which shouted to be filled. Since the sides lay loose on the surface, I thought additional weaving or lacing could be done easily. In the left square I used a simple dove's eye as might be worked in a hardanger kloster, and on the right I wove spokes. My rose looks a little naked in the center. I remember now that I had originally planned to attempt my initial, N, which could be easily rendered with three lengths of edging.

The second row began as an experiment to see if two edges could be woven between the beads. They can, but I left the second strands bare as a contrast.

The last segment is always my favorite to try. What happens if I distort? In this case I made the foundation cross stitches irregular in size, length and direction. Voila! Abstraction.

TAST 2010 - KNOTTED LOOP STITCH

2010-03-13T13:38:00.000-05:00

The knotted loop stitch is fun to work and offers far more possibilities than what I've stitched here. Be sure to see the border and stacked examples Sharon B shows on her Pin Tangle website along with the tutorial on how to do this stitch. Basically it is two straight stitches, upper and lower, combined with a knot

My background is a piece of craft felt with metallic threads that I've dyed and then overdyed with rust. My fish (silk & wool yarn) shows the usual center placement of the knot. So does the centipede to the right.
The fun thing is the knot can follow a curved line beautifully, yet the line can appear more to the top or bottom depended on the length of of stitch above and below, as with the bottom centipede. It creates a kind of spine. I managed a small spiral, and tried to make concentric circles. With the "fossil" in the upper left, I tried to skew the stitches every which way. Even though I varied the length and spacing of the straight stitches, the "spine" is still evident, just not as knobby. Incidentally the other threads used on the sampler are a gold perle cotton and Caron Watercolours and Wildflowers in the same colorway.

Do look at Sharon's samples. She shows a thick and thin border , filler possibilities, and flowers! There is a Take a Stitch Tuesday group on Flickr if you'd like to see amazing work by global participants.

TAST 2 - DIAMOND STITCH

2010-03-09T14:48:00.000-05:00

The diamond stitch is a knotted stitch, and I wasn't able to do much with it. The background is hand dyed and is actually a medium teal color. Looking left to right, the first column is plain diamond stitch worked in Caron Watercolours. The second column is worked to the center from top and bottom with stitches graduating in size horizontally and vertically. This is two strands of Vicki Clayton's premium silk floss, turquoise. The three small columns of diamonds are used here as filler stitches. The thread is a variegated cotton floss. The central portion of the sampler is free stitched to determine how much distortion is possible and to test to see if the diamond stitch could be laid out in a curve. I think the stitch is far more interesting used in this manner. The effect here makes me think of a madonna in silhouette; in fact, I left some space above her bent head in case I decide to add a halo, but then I think that can be filled in with imagination.

Two strands of handdyed cotton floss were used for this part. Another thing I wanted to try was to see if the diamond stitch could be worked horizontally as well as vertically, or if it could be made into a grid. I couldn't get the stitch to work across, so the final columns show how I did vertical rows, sharing holes between each column. I introduced two new threads in the final grid section. The first column is done with two strands of metallic which behaved very well even with the knotting. The final column on the right is 2mm silk ribbon; it too was manageable.

CORAL BELLS, GERANIUMS & RETURN OF THE FLAMINGO FLOOZY!

2010-03-09T12:39:00.000-05:00

I am ecstatic! Coral is one of my signature colors; I wear it well -- in moderation, more about that later -- and I love to use it in my art. It was purely accidental that I came up with the coral of my dreams in a what-the-heck experiment. I must credit my teacher, Marjie McWilliams, for encouraging us to be daring. She virtually yanked me from my cowering corner double dog dared me to try whatever concoction I fancied.
In other words, clean out those kitchen cupboards and play!
So I find a dust covered bottle of DeKuyper's Wild Strawberry Liqueur. It's been hiding for 15, 20 years -- I remember why I even had it in the first place, but it's well aged now. The color is pretty, so I try it out on a small piece of cotton. After an hour it has an unappealing color, an unpretty amber. What if I added a few drops of red food coloring? Turns out the only liquid coloring I had was green. What I did discover hiding further back in the same cabinet were jars of food coloring pastes from a cake decorating class I took a decade or so ago. I kept adding small amounts of red paste until I thought I had a strong color.

It's not red; the cotton is a pretty peach , but the silk ribbon is nice shade of brick or russety red, rather different than appears in the above picture or below. I liked the ribbon color so much I decided to do a larger batch. I pulled it from its wild strawberry bath after soaking half the time, and then came my Eureka moment and the yummiest coral shade ever!

It is a shame the scanner isn't picking up the vividness of the color. Oh, my feet are still happy dancing. I have to wear coral sparingly, usually as an accent color. Otherwise it is far too attention-getting, and I don't always want to stand out. Let me put it this way. I once wore a coral cape while walking down a San Francisco street. I suddenly heard my name called out; a colleague from Kentucky who had no idea I was even in CA spotted me. I have a lovely silk outfit of this same coral . I only wore it once. People stared, but I think it was because I looked more like the Mango character from Saturday Night Live -- only rotund.

Instead of feeling fabulously flambuoyant, I felt conspicuous. Another occasion, another attitude, I could pull it off; my alter ego could shine as the Flamingo Floozy.

Not every experiment gets me worked up. Above are a couple of duds. The top is beet juice; most of the color rinsed out, and rest disappeared with the mordant soaks. The dirty yellow comes from doubled strength peppermint tea and the addition of dried mint. I was hoping at least for a greenish yellow, and I'd so hoped for little tiny spreckles of darker color from the mint leaf flakes.

SPICING IT UP!

2010-03-07T15:02:00.000-05:00

Lesson 2 with Marjie McMcWilliams at Quilt University, dyeing with spices and juices. It took me a while to conduct all the tests I wanted because I only have 2 burners on my stove; however, since I was using saucepans instead of cups as I did with the tea dying, I was able to dye larger pieces of cotton and a yard or so of silk ribbon for each batch. My results were well worth the patience. I was thrilled with the silk ribbon, and I look forward to playing more in the future. Not shown are the unsatisfactory outcomes of beet juice (from canned beets) and mint tea steeped with additional dried mint. It's a shame the colors in these pix aren't as bright or appealing as actual fabrics.

Top to bottom: chili powder; paprika; Goya Sazon, dry mustard

Top to bottom: tumeric; curry; saffron 2, saffron 1

Grape Koolaid. What's looking gray in the picture is actually lovely shades of purple. With the silk ribbon left in the solution from 5 min to an hour I got 3 values, pale lavender to deep purple. The feather and eggshell got about 15 minutes. The cover of my scanner crushed the egg shell, but it doesn't matter because I use the shells crushed anyway. Note the cotton remained pink -- about the same I got with beet juice, but the latter wasn't very colorfast.

DYEING WITH TEAS AND SPICES

2010-03-03T14:47:00.000-05:00

I am in Week Two of an online class at Quilt University. It is "Dyeing with Tea and Spices" with Marjie McWilliams. My kitchen has been converted into a laboratory, as I concoct dyeing solutions from various teas and mordants. Except for the controlled experiments I've been conducting, I could be the mad scientist I always wanted to become. DH is overwhelmed by the absence of countertops and sitdown meals. He thinks I'm done because I've completed my initial tea experiments. He has no clue that I've turned to spices, juices and other foodstuffs. The showdown will come when I start cooking the red cabbage, one of his favorites and something I seldom make for him! I'd best cook extra, I think.

Last week I worked with 11 teas and followed the protocols provided in the lessons. I dyed strips of PFD cotton and small lengths of silk ribbon and ended up with 6 swatches for each tea. The experiments involved length of soaking time , vinegar as mordant, alum as mordant.

Before tossing the tea solutions I tried dyeing egg shells, feathers, coffee filters, rice paper plus one other exotic paper laced with twiggy fiber that really soaked up the color.

I also dabbed each tea onto a piece of watercolor paper to see how it would look as a wash or stain. I've saved the tea bags; I want to try dampening them and pouncing them on paper to see what happens. I did this once with coffee.

TRANSFORMATIVE DOLLMAKING

2010-03-03T13:54:00.000-05:00

The Transformative Dollmaking class with Pamela Hastings concluded this past week. I only completed the first doll, but I have Pamela's thought-provoking lessons with wonderful patterns and ideas plus a class notebook bulging with concepts and sketches for future dolls. This amazing class encouraged further study and exploration with each chapter and much introspection. So much more than how to make a doll! I highly recommend it for anyone interested in healing dolls and creative therapy.

Above are freehand cut patterns for possible chakra dolls. I kind of liked the way they looked together so I'm considering a future project in fabric or mixed media. Another project I did for the class that is almost finished is a collage with a time theme (one of the things I get conflicted about is productive use of time).

TAST 2

2010-03-02T19:27:00.000-05:00

Here we go with TAST 2. Each Tuesday for a year we will be getting a stitch from Sharon Boggan to play with. Don't miss out!!!

You can see my work from TAST 1 here and what others have done here.

BAD GROUNDHOG!

2010-02-11T10:36:00.001-05:00

A leisure pleasure of mine on a Sunday morning is to read the Joggles Newsletter, wherein I find the latest info on books and products and classes and SALES. This week Barbara was lamenting the Punxutawney prediction of an extended winter and offered subscribers a special to get even with Phil. This evoked a chuckle and a reminder of my own war waged on rodents last summer.

To the right you see my 94 year young father with the cabin he and my mother built themselves in 1938. Along with scalloped moldings, red gingham curtains and folksy homilies rendered in cross stitch, my mother, an artist, designed a loft railing that features cut out squirrels. Over the years we've extended this theme.

We used Mother's original pattern to make a railing for the loft in the cabin addition. Throughout is a collection of antique and vintage nutcrackers, and the abundance of squirrel and acorn decor items should attest to our family's fondness for critter cuteness. The first quilt top I ever made was nuts and squirrels!

When we opened the cabin in late June we were pleased to find the place neat and tidy, no sign of the mice we usually anticipate; in fact the mouse bait was untouched. But wait! Oh, some broken glass; a mouse must have knocked a tumbler down from the built-in hutch. Uh oh -- big shards of pottery; a large pitcher found it's way from a top display shelf to the floor. No mere mouse could have helped it along. I should mention that windows are still shuttered during this investigation. I step on something. Pinecone remains. More, and sizeable, too! Then a whole pinecone, just lying there waiting to become a snack.

I clean up the mess and ponder the mystery. The cabin is pretty secure, so it would be difficult for a squirrel to get in unless it were in when we closed up. But the pinecones, 6-7 inch pinecones? So the glass was just a drinking glass and the pitcher wasn't vintage Bauer and I had a little extra sweeping chore. I remove the dust covers from the furniture. Everything looks fine even when I remove all the throw pillows and cushions that have been stacked and covered with plastic. You know my sigh of relief is short lived, don't you?

I want everything so perfect for my dad's arrival. This marked the first time DH and I had completed a cycle of opening and closing by ourselves. In the living room (the cabin's original room) We have a single bed with bolsters and cushions that doubles as a sofa. It was in making up this bed that I became aware of nesting. A neat nest, to be sure, but nasty nevertheless. What you're looking at to the right is the window seat cushion from the dining area. On the bed the critter (may it crisp in rodent hell) gnawed into the base of one of bolsters, but found the foam filling not to taste. It made it's way down toward the mattress but only got through the cotton twill spread and a thermal blanket. I threw those away and everything else got washed or heavily Lysolled. Then I got to work repairing damaged upholstery which was new and customized and couldn't just go to waste. These are the patches I made.

Did I make my point? Am I nuts? A little on the squirrelly side?

SO FAR SO GOOD!

2010-02-05T21:42:00.000-05:00

I've been absorbing myself in Transformative Dollmaking, the Joggles class I'm taking from Pamela Hastings. Among other things, our first assignment called for us to make a paper doll that reflected our happy days and the not so good ones. I complied with a two-sided doll based on a pattern she supplied.

To the right you see me tickled pink and tripping the light fantastic above my desk. This was my first play with paper collage, so the educational experience was doublefold. I have so much to learn. Never mind that my foil wings bear glue smudges and fingerprints.
Never mind that my mylar stockings are wrinkled. Never mind that my tissue paper arms were so tattered I had to cover them with lace. I played. After applying my acryllic facial foundation, I put on minimal makeup with a pen. I styled my hair with petals from an old carnation corsage. A little stick-on bling at my neck and a big heart do it for accessorizing my dowdy, somewhat old fashioned print dress. I am happy today.

Below is my alter ego. Thankfully I'm an optimist and born with a sense of humor that sustains me in difficult times, so even though I can be as witchy as the next gal, my anger is typically short lived.
Most of my bad days stem from frustration, impatience, discouragement, and fleeting resentments. My depression is genrally controlled by medication, although I do occasionally have anxiety breakthrough. My recent grief was the first time an emotion left me debilitated. I would never have imagined that creating a grouch could make me laught and have so much fun.

My beloved DH cringes whenever he sees me saving "stuff". If you're reading this, you know what I'm talking about. There are times he vocalizes that I hoard and belong on a certain TV show. I will allow only that caching stash is sometimes problematic. I mention this only because I got to use some unlikely keepers in this project. Like that corsage I mentioned? From a commercial floral class about 20 years ago.

Also unlikely are the wings. I'm not sure why a witch would have wings unless she's fallen from grace. Anyway they're tarnished. Look closely. That's embossed toilet paper I used to blot while I sprayed various inks and starbursts and saved from an earlier project. It absorbs beautifully and randomly in color and stays strong; it worked fine with the gel medium I used. And you know, I'm not sure why my happy side has wings. Maybe they symbolize my resuming creative flight.

My inner imp is wearing a dyed coffee filter! Yes, yes, last week I decided to experiment with some months old cold water dye solutions. I dyed bleached and unbleached filters and learned the bleached come out a little brighter. This particular one is unbleached and chosen to match the catalog cutout of "The Witch is In". Do not ask why I owned a gold bandana with primitive hearts, as I have no clue. But I love how the heart looks pierced by pins to cause me pain. The arms are coffee filters given a multicolor treatment with the same dyes. The dye bleed like watercolors on the filters; I just dropped the color randomly and watched it run and marble. I did purchase paper for the legs. I could not resist the filigree and spider webbing to sub for fishnet stockings. My witchiness has a sleazy side as evidenced by those tarnished wings, and I suspect her presence by my computer is to lure me to a game of scrabble or spider solitaire, anything to keep me off productive task.

TURNING A PAGE

2010-01-29T00:21:00.000-05:00

Many times I've attempted to write a new post, especially to thank the many of you who extended sympathy by commenting here or through personal email. Every time I'd start, I'd quickly break down. But it's important for me to express my appreciation of your caring words.

It finally occurred to me that reluctance to blog probably has everything to do with the the creative block I'm experiencing. I simply haven't had the energy or focus to accomplish anything. It's kind of like my mind strays as a means to deprive me of the activities that bring me joy; nothing seems to hold my attention for long. So, enough of that. I'm turning a page in the hope this entry gives me a jump start to moving on.

I am currently enrolled in a Joggles class with Pamela Hastings: Transformative Dollmaking. Recalling the peace that came through creating healing dolls for others, I'm hopeful I'll find some much needed self healing through this process.

ON HOLD

2009-10-09T14:19:00.000-04:00

Everything in my life is on hold as I deal with the murder of my firstborn grandchild, a beautiful young woman and mother of three. I am still stunned from the devasting news and expect closure will not be forthcoming until the killer is found and brought to justice.

VACATION KNITTING

2009-10-02T14:26:00.003-04:00

Although I divided my time among other creative pursuits, I managed to get in quite a bit of knitting. I have only the collar and finished edges remaining in the blazer-vest I discussed in my previous post. As predicted, it was an ideal long travel project.

I took along another project, a lace ring scarf using Schaefer's Andrea in the colorway Elena Piscopia. I had my LYS order the yarn and also the Heartstrings pattern: H45-7041, but I took so long in picking it up, the owner started the Ring of Lace Wrap herself -- in my chosen color!

And yes, I did snatch it off her needles -- at her offering, of course. She had only a few rows done, and oh that I had kept them and purchased her needles. The pattern calls for a crochet cast on of 300 stitches. Just keeping count of that many stitches in a fine thread was challenge for me, more frustrating each time I had to begin over after several false starts. I heard lace is forgiving, so I kept going, mistakes and miscounts in the first few rows notwithstanding. I'm several inches of pattern rounds now, and I became comfortable and overconfident with the ease of progress. Agggghhhh. Complacency strikes again! I forgot to yo at the beginning of my last row. I'm just not up to dealing with removing 300 (or whatever number I may have ended up with -- oh the shame) barely visible stitches to correct the problem and am contemplating a suicidal leap into the frog pond.

TRAVEL KNITTING

2009-06-13T10:59:00.006-04:00

I've been thinking for awhile about what to take along as a summer knitting project. Two things are within reach of my passenger seat, camera and something to knit or crochet. When I'm not Nancil Adams ever alert for photo ops, I'm Nanci Navigator; in either mode I don't have time to rererence chart or detailed pattern directions. Ideally a project should be, well, I won't say mindless, interesting enough to hold my interest without becoming a distraction.

What I am taking this year should have been the least of my considerations. It's a sleeveless blazer from Knitter's Magazine that I have been admiring for nigh onto a decade. I've been waiting all this time for "just the right yarn". The design called for a handpaint in a shetland coupled with a baby loop in a deeply contrasting color. I wanted primary colors against navy. I did not want a boucle giving me added bulk. My years long quest had me often contemplating Koigu sock yarns, but I could never make a choice among all the colorways, and besides, it would have made the project a bit pricey, and what would that do to me if I hated it after knitting it up? A recent offering from Elann.com seemed to fit my need, and after consulting with their staff, I ordered it along with a solid blue that would blend. I changed my mind about the navy, and opted for a blending blue, a less stark contrast I hoped would be more subtle, ergo more flattering.

You can see in my swatches my plan didn't quite come together. The blue all but disappeared in the background panes. The multi colors are actually less than my crayon expectations. What appears as bright red here is actually hot pink. The green, though, is indeed the deep olive it looks -- not the bright verdance I'd anticipated. Dwell on the top swatch only long enough to realize I obviously garbled the directions. The stitch pattern (panes of multicolor alternated with those having a cross frame within) of the original design is not there, the color carry-overs on the right side don't belong there, but far worse, the stitch instruction required like 14 rows.
Agggghhhh. Not pretty. Not suitable for travel.

Just curiosity had me make another swatch with a simpler slip stitch. Hmm. Gauges the same.
Certainly looks tidier. Easy peasy knitting...

I already have about six inches done! It's knit in one piece to the armholes. This is a project I can work on and off and not lose my place. BTW, this garment is called a sleeveless blazer because it has a tailored, notched collar. I'm not so sure how I'll like border loops that go completely around. If it looks too fluffy, I'll do a simple crochet picot and/or eliminate some of the frous-frous.

I'll be westbound tomorrow if I can get packed. It's insane, but I want to get one more blog off before I face a computerless summer. If I don't, I'll have plenty to write about when I get back this fall.

STITCH EXPLORE 09: MAY - NEEDLEWEAVING

2009-05-22T08:21:00.004-04:00

If you refer to my previous post further down the page, you'll see that I completed the design I began with work in casalguidi. Here I've put the spin on it so you can see it in different rotations. Funny, while working on it, I thought the correct orientation had the two butterflies on the left, but I think I like it best with the butterflies at 12:00. The words are important only in that they indicate the months of the stitch exploration, although I did wrap "MAY".

I used two shades of Watercolours, regular cotton floss, and perle cottons in #5, #10 and #12.

The wheel began as a circle stitched with knotted buttonhole with spokes added evenly spaced from the center. I worked detached buttonhole around the inside of the circle and making a crescent shape on one side. From the center of the circle I wove with the same perle as the spokes, followed by two rows with watercolours. Next I wove three spokes together, then two sets of two wrapped spokes, 2 individually wrapped spokes, and finally two more spokes wrapped together that look like a continuation of the first three spokes. Five spokes remain bare but with the illusion of looking different lengths.

The first arc from the wheel has a foundation of parallel lines of backstitch (Watercolours). I used perle to wrap the two lines with a loop effect. The next arc begins with a line of barred chain, over which I worked surface coral stitch, knotting each of the underlying bars. Later I extended the line with regular coral stitch. The short arc is simply two rows of running stitch with the "bars" alternating. Then a second thread is woven .

I thought I was finished until I saw Sharon B's recent tutorial on weaving a picot and I had to try it right then. The closest stitchable thing was my April-May sampler segment. Cool. I thought I'd be stitching a cluster of leaves, but the angle of my second picot made me think of wings. I made two more and judged these butterfly/moth thingies deserved to stay on my doodle design by merit of their spontaneity and because they verify my use of words (remember, MAY is comprised of wrapped straight stitches). A few more fillers : tied crosses, French knots, eyelets.

Stitch Explore 09 - April: Casalguidi

2009-05-14T09:15:00.004-04:00

Here is my effort at Casalguidi. It is just a sampling of some of the raised and pulled stitches. I enjoyed these and will probably add more. I went to a linen fabric for the pulled work, and it was a refreshing change from the red, white and blue on gray I had been using. Here, too, is proof that I do use a hoop on occasion.

I'm not certain, but the fabric may be Dublin. I began the long, meandering line by couching down a cotton yarn. I satin stitched over it with #8 perle, then did the over stitching with Caron Watercolours. Then I made more lines with buttonhole bars and detached buttonhole. I used plain buttonhole to stay stitch consistent and for flat contrast. I worked a few bullion knots because they were mentioned and because they are such fun to do. ;-)

For the pulled stitches I used #12 perle and worked part of the pattern provided in Carol's pulled stitch tutorial. From her whitework lessons I tried, I'm not sure how successfully, to make faggots with a #5 perle. These showed up better than the stitches done with #12. I think #8 or #10 would have been better choices; I didn't have any on hand but a few that would color clash.

You realize the above is just doodling. I'm sure there are many ways to vary these stitches . The whole time I was thinking how I might distort or make the stitches irregular, so I have some ideas I'll save for another playtime session.

Stitch Exploration 09: March - Assisi

2009-04-15T15:45:00.004-04:00

The rose to the left is from an internet pattern. I just used part of it to get a feel for the stitch. I've done cross stitch , and although I know Assisi work in principle, I've never stitched it.

I have trouble recognizing negative space, so I was relieved to learn I could outline before working the background if I wanted. Next I had to figure out what to use as a design. I couldn't get past the association of St. Francis whenever I tried to think Assisi .

I wanted some color for the background but didn't have the ambition or time to attempt an outdoor scene. I went for a stained glass look , contemporary, with a hint of a cross and just the suggestion of a church window. Most of the background filler is cross stitch done with single strands of cotton floss. As you can see I ran out of fabric length.

TEXTURED SURFACES, First Samples

2009-03-01T14:12:00.006-05:00

I'm still working on the Textured Surfaces class I took from Lynda Monk and Carol McFee. I've had so much fun and am learning so much as I perform little experiments every day. Gathering in new art supplies and learning their properties, I'm finding the total satisfaction I missed when I finally got the chemistry set I nagged my parents for way back when. Each day has been Christmas morning and I get to play with a new toy.

In this class (you can register on their FiberInform website for future offerings) we used a variety of backgrounds suitable for stitching and how to create texture and color with different mediums. I've prepared twenty or more samples up to the color stage. Today I show my first two examples. Here is the before picture which doesn't show very much. It is 140# watercolor paper from a tablen. After priming I used molding gel which I swirled around and imprinted with bubble wrap. I wondered about the gel taking color since it is transparent. But look what happened after I added paints and waxes. I can add surface embroidery or even machine stitch at this point.

The next sample began with a piece of canvas from an artist tablet. After applying the molding gel and pouncing around with small bubble wrap, I added cheesecloth and made more bubbles with a stencil and molding paste. When it came time for the painting, I used the wrong color by accident. Then I realized I did not have the interference paint called for and made do with what I had.

I also tried to make do with the metallic waxes I've had for a long time by freshening with xylene. That trick works, but I quickly discovered I could not apply with a light touch. As a result I played around with the addition of pewter over silver and even some mushroom dauber to tone it down. The end result reminded me of abalone shell. The actual piece looks nothing like the photo on the right. I tried scanning, I took camera pix from all different lighting. The canvas has deeper tones that don't show up; there's a lot more tonal interest there. Also from the camera angle and lighting you can't appreciate the irridescence and mettallic highlights that shine through the cheesecloth. The canvas is ready to stitch. I think it wants some gray pearls. I think I want to call it Casting Nets by Moonlight.

Drop by Chaska Peacock's website for info about her upcoming classes. Chaska always gives good instruction, lots of inspiration and always a surprise or two.

SPIRAL TRELLIS - February Stitch Exploration 09

2009-02-27T10:42:00.003-05:00

The stitch for February's Exploration 09 is the Spiral Trellis. If you clicked on the second link you would see how beautiful and perfect are Sharon B's examples. I have not yet reached that level of expertise, but I like the stitch and plan to attempt more experiments.

The link I just mentioned directed me to 3 excellent tutorials. Still I had trouble in the beginning. As with most knotted stitches it takes me awhile to get thread wrap right. My first attempt was actually the plain trellis stitch that is worked back and forth in rows, whereas this trellis is worked continuously so a spiralling line of knots results. I looks very much like beading. After frogging my rectangular trellis fill, I went straight for a heart shape in spiral. I should have known better!

A & B are built up too high before decreasing, and the stitching lines aren't flowing. In B in used a chain stitch foundation, an I idea I read about on Elizabeth M's blog Quieter Moments. Elizabeth thoroughly researches stitches and is gracious to share her experiments. Trust me, Elizabeth can find the ultimate innovations possible in a stitch, and not only that, her needlework is supurb. Back to the doodle rag, my use of the chain ( I later learned from Elizabeth she used a reverse chain) was so I could add embellishing stitches to fancy up the dimensional heart. I was thinking of a lacy valentine. I forget what I had in mind adding a second row of backstitching around C. When I remember, I'll get back to it. I did make a heart, but it's sloppy . For D, I switched to a #3 pearl hoping it would help me see the knots and bars better. You can see it didn't work for me. I had a sloppy lacy top (I wasn't going for "lacy"), I lost the heart outline, and I still couldn't wrangle those knots into flowing lines. Didn't get better with E when I returned to #5 pearl.

Here is a continuation of the sampler I began last month. My designs are a little large to cover up the linty cloth underneath. I stitched a number of figures and ripped them all out , even though one of them was quite interesting. I wanted to see if I made an s-line into a snaky shape, could I build it up to create a third dimension. Answer, absolutely! Unfortunately it was weird looking. After building up the sides and finally drawing them together in a single line of knots, I had a leech! I would have saved it as a curiosity on my sampler had I not realized I needled in all the way around instead of needling out.

While the cloth still held together I went where I should have in the first place -- to a circle. I'm glad I went with the overlapping circle design because it gave me the opportunity to try for variation. I began with the navy circle and finally got the lines to spiral nicely. If I'd stuffed it, it would be a dome, but I let mine peak slightly so it actually resembles a Chinese hat. The light blue area is actually a partial circle, but I was still able to achieve the swirl by ending at one side and bringing the thread up again at the beginning. The partially eclipsed circle with the stripes was constructed exactly like the light blue one.

You can see I finally got a heart filled in. I'm not completely happy with the way the swirling knots come together in the center, but it's a start. On the other hand, I am very pleased with my 4-color spiral.

CHICKEN SCRATCH

2009-02-08T11:31:00.005-05:00

This is the beginning of a sampler for Stitch Explorations 2009, a challenge in stitching techniques from Sharon Boggan. January's study is Chicken Scratch. It is basically weaving through straight stitch anchors and is a needlework commonly stitched over a checkered fabric. A typical example might be a gingham apron embellished, which could be fancy for a hostess or simple as a young girl's 4-H project. To me the traditional look is nostalgic, homey, the textile equivalent of comfort food.

I decided to begin a sampler for the 09 stitch explorations. I've admired Sharon B's rollable sampler and also liked the way she incorporated some current event. I just happened to begin my sampler the day of a presidential inauguration, and I chose patriotic colors to record my stitching. The cloth is a light gray hardanger fabric, and with the exception of the sparkly white, my threads were all basic cotton floss and #5 perles. This sampler is for me as I play and experiment with the stitches, so I don't worry about counting threads and proper centering; I just eyeball it.

What I tried to explore here was using different stitches to accomodate the weaving and also the use of multiple colors. The first solid across block of stitches is a failed experiment. I was going to weave small circles around large cross stitches. When it didn't work out, I added more stitches just to make it decorative. The first two circles in the following row are woven through stacked arrowheads. The next circle I think might be interesting in larger scale. I wanted to see what it would look like if three colors were used to weave concentrically through three straight stitch anchors. I couldn't get it to look right, so I switched to just one color for the weaving. You'll probably have to look at the enlarged picture to see the staggered effect. The fourth circle also utilizes 3 straight stitches in varying lengths as anchors. Fifth circle is another dud. The final segment has circles woven through 3 rows of cross stitch.

The next band is where I went from neat circles through even cretan stitches to freeform cretan stitching. I really love the irregular circles and the odd shapes formed in the negative space. In the final band I began with close set cretan stitches with the second row alternating points. The uneveness caused the top and lower circles to slant, while the center circles stayed normal. I think the effect might be more interesting had I reversed the threads. The rest of the band was more freeform play. It may appear like a couched thread, but what I actually did was scatter arrowhead stitches in varying size and orientation, then wove the thread as randomly as I could through the V's. Thread tension didn't show up when I sketched the idea, so the outcome was not as interesting as I'd hoped. Maybe more v-stitches in a different color and another color for threading. In fact I think I need to do just that to fill in that area and make the January segment look more balanced.

ANGELIC MAKEOVER

2009-02-03T20:46:00.002-05:00

The before angel is below. You can see I've made her halo larger, added a butterfly hair ornament, a magic wand and lots more fibery stuff including tulle and hand dyed scrim.

PROSPERITY DOLL

2009-02-03T19:04:00.006-05:00

As previously mentioned, January's project in Chaska Peacock's Creative Sparks group was to create a doll that would represent us and what prosperity meant to us individually. We were to make dolls from a technique Chaska taught us that involved wrapping a wire armature. She gave us two examples of her own, one with her picture for the face and the other with a mirror face. You can see other examples from the class on her website

I initially had major reservations about using my own likeness on this doll. I learned a tragic lesson in being careful what one prays for, and I've avoided petitioning for personal favors ever since. After some deliberation I decided I could make a doll that simply represented prosperity,

good fortune and things people usually wish for. If I clarified in my intent that none of my loved ones would suffer as a consequence of fulfillment, then generalized wishes would be okay. I was going to include names of those with whom I'd most want to share the luck inside a tubular fabric bead I would make. Wouldn't you know the doll exerted its own creative guidance and eliminated the dilemma altogether.

As the doll took shape I noticed masculine characteristics. Not only did my doll choose to be male, he chose to be magical, as in anything-is-possible magic. My doll morphed into a genie!

Unlimited wishes could be mine for the asking. Neverending stash came immediately to mind -- after world peace and abundance for all, of course. I could wish for the moon. Instead I opted for the world on a silver platter (that ought to cover about anything).

Here are the details. I painted my guy red and named him Red Genie. I wrapped his arms with size 8 perle cotton floss. I wanted him dressed in red, but I only had small pieces of silk from my CQ stash, so instead of one robe, he sports separates. The paisley fabric was only long enough to cover from high waist down, so I made a tube and gathered both ends. I deliberately put the seamline down the front and ruched it slightly to give the suggestion of harem pants. I made slippers with curlicue fronts from air dry clay and painted them gold. They just peek out at the bottom and purposely look off-balance because, hey!, he's tripped over Happy Cat, who facing front has his right hand raised to bring personal riches and facing back has left hand up to promote good business and many customers. I don't have a business or clients, just covering the bases. One never knows. An apron of claret hangs from the neck down and is bordered with a piece of woven ribbon that repeats around the neck. A leftover snippet of paisley made a sleeve and draws across the back to blouse over the gathered waistband. Two rectangles of red silk stitched together in the back with gold metallic make a shawl that covers the bare shoulder. The ends cross in front beneath the arms for an added detail. He has some wired beads around the neckline and a handmade Chinese knot with charms hangs as a pendant (found it at a local Chinese restaurant). I used French wired ribbon for a sash and simply twisted the ends at the side to make a fan shape. Red Genie's turban is a swirl of silk chiffon from one of my dye batches. Atop it is a miniature Christmas ornament that is "bejeweled" and shaped like a turban or oriental onion dome. My man's face is glued to a bottle cap glued to a flat filigree medaillon.

He is looking down in shock as his silver tray spills. The tray was cut from the foil vacuum seal from a coffee can; a piece of lace is the doily.

2009-01-26T17:09:00.005-05:00

Since my fourth return from CA this past year I've been quietly working on a number of things, some catch-up, some new comittments. Although I haven't posted, I feel comfortable with the degree of accomplishment, even though these may not have been measurable as finished "things". So much of what you will not see is evidenced in the art journals I've kept puruant to the Joggles class I took from Sharon Boggan. My journals have become a playful means of capturing ideas that tend to swirl through my head until overshadowed or forgotten.

I had thought I might ease off my creative involvements in 2009, but as usual, enthusiasm got the upper hand, and I find my studio calendar full. Call me weak. I cannot resist the temptation to learn something new even though my pragmatic self knows there will always be similar opportunities.

So far this month I have continued with Chaska Peacock's Creative Spirit Group. Following the angels class, January's lesson in creating a Prosperity Doll which involves wrapping around a wire armature. Mine is ready to dress and embellish, so you will see a picture soon. I also signed on for Lynda Monk and Carol McFee's course at FiberInform on textural surfaces. I have admired their work for so long, and now I have the opportunity to learn how to use the multi media materials to achieve different effects in texture and color.

I can never resist anything offered by Sharon B. I've started a sampler to go along with her
Stitch Explorations 2009, and I'll be sharing my variations of chicken scratch soon. I purchased Maggie Grey's latest book, Textile Translations: Mixed Media ,which comes with online studies and a Yahoo support group. I've deferred these lessons until I complete the FiberInform course even though I understand the Yahoo group will have disbanded by then.

In February I will stay with Chaska to learn how to make a cigar box altar. I will also be participating in a group book study at Goldilocks and Friends . We will be performing the exercises in Susan Stein's Fabric Art Workshop .

ABSTRACT FLYING ANGEL DOLLS

2008-11-22T23:28:00.005-05:00

These dolls are the first of three types of angels we are making in Chaska (Mai-Liis) Peacock's online class. I worked on them at the same time, and they are for the most the same except for halos and embellishments.

Their faces are my first attempt using polymer clay for anything. I used some Sculpey III in beige. I didn't use a mold; I kneaded small balls and flattened them to round and oval shapes and used my finger to roll a concave back which I thought might better conform to the stuffed head. I did not try to sculpt this time around. I drew the faces with permanent markers and added a little blush. I wish I had taken the time to get better proportion. I'd like to try watercolor pencils or some other medium that would allow me to properly blend and create the illusion of contour on a flat surface. I'll work on more expressive faces as I continue learning to create dolls. I'll be dabbing little spots of glue around the faces to make the hair better conceal the sides of the face cabochons.

About the hair. The bright aqua is some kind of fibery yardage I bought as a remnant at Walmart. I had no idea what I'd use it for at the time; I only bought it because it looked interesting. It's sort of like a lightweight Pellon interfacing. It drapes, it crinkles, it's translucent. I came across it looking for something else, and I don't know why I even thought to use it for doll hair -- just one of those serendipitous moments when I decided I liked the way the stuff scrunched! Dare I say, it came to me out of the blue... The second angel has purple hair.

I first tried needlefelting some purple wool. It worked well, but to get a sculpted hair style I was afraid I might chew up the fabric too much. I settled instead for stitching on curly eyelash and feather yarns.

I had a wonderful time shopping at Michaels looking for potential halos. Infinite possibilities with lots of wired eyelash and bead garlands all sparkly and pretty for the holidays. Oh the ribbons!

I cannot wait to shop the after season sales! My turquoise haired angel has a halo made with

gold star garland (found in party supplies!) twisted with a multi colored glitter eyelash. Her purple haired companion has feathers for a halo. The feathers came as trim, glued and stitched to ribbon. I had first considered it as a substitute for the beaded fringe at the bottom of the doll, but the ribbon was too rigid to follow a curve even when clipped. It was next to impossible to try to sew by hand, yet I was set on having a feather halo. I ended up cutting individual feathers with parts of the ribbon (I couldn't pull the feathers out) and glued them in a way to frame the head. The meant the back of the angel's head wasn't pretty, and I couldn't stitch more yarn over it for hair. What I did was place a spoked wire "donut" from the jewelry findings section and placed a bejeweled button in the center.

I had such a good time making these angels. It was like having the best play date ever with my inner child.

CREATURE FROM THE BLACK LAGOON

2008-11-02T15:05:00.005-05:00

My latest healing doll! He may appear fearsome, but if you recall the films, the Gillman was no monster, just a misunderstood biological anamoly who scared the living daylights out of Julia Adams' character along with all the teen girls in the audience back in the day. The Creature from the Black Lagoon movies have become cult classics in the genre of 50's B movie sci-fi. The Gill Man films have always been faves in my family, so when the need arose for a healing doll for my daughter, the Creature jumped first into my imagination. Hey, it was either him or a great white shark; she collects both. She has some surgery coming up, and I wanted to make something to cheer and heal. My choice was easy. I don't think Jaws could ever be considered benign, do you?

Truth be told, it was the fabric that brought on the idea. I found it while browsing a local fabric store in CA last month. As soon as I saw it I knew what it would be, and I started work on it that very evening. I cut the pattern freehand , a technique my mother taught me. The doll's head should not be as pointy as it turned out -- my mistake for leaving the turn opening at the top.

I sewed him by hand (next time I may try my mom's 40's era Singer, probably still works), not

the best thing for dolls, but I did try to reinforce in the curves. I covered the seam line with beads. He has seed beads to outline his mouth (I read that the actual creature costume had bright, bubble gum pink lips which for some reason gave the right effect when filmed in black and white) and olivine crystals for eyes. Of course I tucked a prayer and appropriate crystals,

purified and programmed for target healing and overall wellness inside the Creature. I think my daughter will be tickled when she receives her doll.

My thanks to Mai-Liis Peacock for introducing me to the joys of making and presenting healing dolls. I am already at work on the first project for her new angel class. Below is a peak at the fabric I will be using for the abstract flying angel (think Chagall!).

TWO NEW EXCITEMENTS

2008-10-27T13:23:00.007-04:00

I'm back, relaxed and no longer mired in catch-up. If you'll recall I put previous group activities on pause and gave myself permission to quit as long as I needed to. I did manage to get in some creative time during my stay in CA. I knit. I started a doll. I made some floral arrangements. I got to do some sightseeing, pix of which you can find on my Flickr site .

Within 24 hours of my return I had signed up for another class. And maybe a day later I enrolled in another! I know, I know, your're already admonishing me for setting myself up to fall behind again. But understand, both teachers are wonderful instructors and the contents are such that I can work when and as I wish.

I have already gathered in supplies and started on Sharon B's Joggles course, Studio Journals: A Designer's Workhorse . I need this class -- desperately! Before I had a computer I kept art and craft ideas in manila folders. The ideas were magazine clippings or notes hastily scribbled on whatever was on hand while watching TV how-to's. On my lifelong quest toward organization I filed, sub categorized, made new files and labels and soon had a complete file cabinet filled with snippets of ideas now long forgotten. My current computer (#2) has two files with pix and notes for ideas I'd like to work with some day. One I called a visual journal and the other "Concepts".

Both are so long, they're taking forever to load and just as long to scroll down to find stuff. At the same time I've tried keeping journals for each interest one for CQ, one for knitting, beading, freeform crochet, embroidery -- the list goes on ad nauseum. Of course no journal was ever handy when I needed it, and if I travelled the idea of hauling these suitcase-filling journals was absurd. Like I mentioned, this class is a must .

In theory my artistic productivity could increase if I could just corral the ideas. If I could only wrangle them into one place... well, I'm already thinking two, a big one for studio use and development and a small one for thoughts on the go. Sharon told us to just start in the new book, get something on that first page. Mine happened to be a watercolor paper, so I dug out my watercolors to do a simple decorative wash and was aghast that I'd really forgotten techniques long ago learned. Since my overall premise is ideas out of sight are soon out of mind, I thought of lightbulbs to symbolize ideas. I soon got carried away and had makings for collages, stitchings and even dolls. Working the exercises from Lesson 1, I have more ideas in the development stage. So it's already happening;

creative concepts are replacing idle thoughts of a sedentary mind.

Speaking of dolls, I'm very excited about Mai-Liis's latest offering, the Angel Project. I took away so much more from her healing dolls class, I know I won't be disappointed in this one. There's still time to sign up for this very affordable course which is conducted via a closed Yahoo Group. I will shamefully admit that if you mention my name, I will receive a perk in the form of a squishy. That of course is not as important to me as learning ways to make dolls and embuing them with a spiritual essence or intent!

TIME IN A BOTTLE

2008-09-23T14:07:00.006-04:00

Right about now I feel like I'm spending time in a bottle. I feel like a condiment, like all I'm doing is playing catchup. Right now time is not my own, so rather than stressing out, I'm going to let myself slip down into the bottle (that's the ketchup one, friends!) until -- well, until my creative muse gets a hankering for fries.

I did get a lot of knitting done during my two months away. I got the better part of 4 sweaters done. Since I only had computer access once during July, all I could manage was journal about the TIFC color palette and sketch ideas for the theme. I did play with the mini looms I took along.

Tomorrow I pack for another month in CA. I'll be flying ergo travelling light, limiting the kinds of projects I can take along. I will take yarn for at least one sweater and maybe materials for a piece of stitchery.

A NAME I CALL MYSELF - TIFC May

2008-05-28T18:30:00.005-04:00

The May challenge concept is a question I ponder all the time. What do I call myself when trying to explain my creative endeavors? When I tried to work through The Artist's Way , polite arguments in my head erupted into battle. Considering myself an artist won out for the time being, but that word itself is inadequate to describe the scope of activity in which I engage.

I invisibly wince when an outsider responds, "Oh, you do crafts!". My body reacts with an inward cringe if they add, "Me, too!" My inner snob and judgemental self silently separate that crafter from me and my artistic values. For me the difference has to do with creating from within, compulsive self expression, following a whim or instinct rather than a pattern. For me the barrier has nothing to do with technical proficiency or aesthetic appeal. My TIFC above, albeit an exercise, is a piece of art because it is a piece of me. It's not pretty, doesn't show proficiency, but it's not intended for anyone but me.

Let me explain my interpretation of both concept and palette for this month's challenge. In a nutshell, I'd resort to looking in a crystal ball to find a suitable name for what I do.

a. needle artist

b. fiber artist

c. textile artist

d. mixed media artist

e. all of the above

f. none of the above

g. some of each

Most of my artistic pursuits involve thread or fiber, some kind of needle or hook. For sake of convenience I generally tell people I'm a fiber artist, leaving them to presume I spin and weave (I don't -- yet) and no inclination that I bead. I have no commercial goals; I keep or gift everything I make. I love to learn new techniques and share what I learn. I have fun. All the time. And to those of you reading this, you will understand why I call myself

FIBERDABBLER. I don't know that there is an answer to the May concept question. Dare I suggest it doesn't matter semantically how others perceive us? I'm evolving, and I love the mystery of not knowing what comes next.

I LOVE LUCY

2008-05-08T09:45:00.006-04:00

Lucy Nieto, a fellow Flickr user, contacted me the other day to ask if she could use my April TIFC design to create tiles. I agreed, not really sure what she meant until she sent me the results. Wow! I then asked permission to show the results here, and in the meantime she created another series with my Take a Stitch Tuesday #30 design, and I have to say her results are prettier and far more dynamic than my originals! Lucy tells me she uses a Kaleider software and sometimes FilterForge. Below are some of my faves, but you see them all together here.

It is well worth your time to browse Lucy's photostream. She doesn't just play with digital imagery toys, she is a wonderful photographer as well. You'll enjoy her macros, textiles, textures and a love of color that is truly inspirational. Thank you, Lucy, for sharing your creative world!

MARCH TIFC COMPLETED

2008-04-30T20:04:00.005-04:00

APRIL TIFC

2008-04-22T11:20:00.007-04:00

Again, I'm opting for the palette portion of the challenge. I hope the colors at least resemble those of the palette; the computer I had to use away from home may not have had the most reliable monitor. Above are the colors Sharon B generated and you can see the photograph she used for inspiration here.

In my last post I mentioned I had found DMC flosses and a few perles at a CA fabric store, along with some woven raw silk. This store also has two rooms of trims! I bought beads by the yard with a metallic finish in bright copper/burnt orange that just doesn't show true in my pix. None of the colors do, but I'll hold to blaming the cheesy monitor. On my sketch you'll see how I named the colors, but I really wasn't sure if the second one was brown or browny purply plum, so I used both! The pale lemon is all but lost on the ivory/cream background. First picture below is closest to actual color. Below that is the entire sampler. The bright, shiny bead strands simply don't "pop" as visually as they actually do, compensating for the lighter colors lost on the pale background.

SNEAK PREVIEW OF MARCH TIF

2008-04-22T09:31:00.011-04:00

Colors from the March palette reminded me of oriental rugs which made me think of the decorative grandeur of the Ottoman or Moghul Empires.

I allowed my Creative Inner Child to fantasize about magic carpets, sultans and Scheherezade. Then I made a crude sketch for a design of paisley motifs and scooped up some black burlap and all the threads, ribbons and yarns I had on hand I thought might match the palette. No time to search for beads, but there was a good LRS where I was headed in CA.

I cut a piece of burlap and backstitched the perimeter I wanted, allowing enough border to fringe. This seemed natural because the weave of the burlap was so loose. Once I started on the actual stitching, I quickly realized I was not conforming to the lines of my original sketch. I drew another more closely resembling the form and direction my stitches were indicating.

April was upon me before I could get to the bead store, so I started on this month's TIF, which went quickly given that I had no decisions to make regarding which stash to use. I made do with what I could eke out from what I had with me, supplemented with some flosses and perles found at a local fabric store ,where I also invested in some ivory colored, loose woven raw silk for the background.

I don't have too much left to do on March's TIF, just a little more stitching and beading. I'll post a finished presentation in a day or two.

GREETINGS FROM CALIFORNIA

2008-04-01T15:28:00.002-04:00

Dear Readers,
My quickie two week visit to CA has been extended two more weeks. My 92 year old young father had hip replacement surgery to replace a replacement he had over 25 years ago, and I'm staying while he recovers. I'm pleased to report he is up and about and doing splendidly and should be able to return to independent living soon.
I popped into the local senior center today to check the TIF assignment for April, and I wanted to let everyone know that I have been spending my spare time finishing up my March TIF (I'll upload pix when I get home), working on an Ample Knitters' KAL sweater, the Oblique Cardigan from the Knitty archives, and dutifully writing three pages of "Morning" as part of the Artist's Way challenge with the cyber chapter of EGA. I'm looking forward to some free time to meet up with friends and do a little stash shopping -- after all, I have to buy materials for this month's TIF so I can start on it out here.

TAKE IT FURTHER CHALLENGE - FEBRUARY

2008-02-25T22:53:00.005-05:00

Given the choice of basing design on a memory (my earliest being when dirt was formed) or designated palette, I chose the latter:Hmm, is that gray or slate blue? What's that dark color? Indigo? Purply blue? Again I worked entirely from stash. The two pieces of ivory satin that resemble vanilla caramel swirl (yum!) are from a piece of white silk/poly blend that I rust dyed. The teeny, tiny rust colored silk at the bottom left is dupioni. Why isn't there more? I could fib and say I was conserving a favorite fabric, but the truth is I miscalculated with the stitch, flip, cut technique. The slate piece is a piece of ultrasuede, the dark blue (with a tinge of purple) is moire, the print is from a gentleman's tie. The remaining three portions are light blue charmeuse. Confused? The upper right is overlayed with a blue sheer that has been machine stitched to resemble punch needlework, and if you look closely you can see it is printed to look like hand painted , concentric curves. It's from a lot of embellished sheer sales samples I caught on eBay!

This a work in progress picture I took, cropped and printed out to give me a clearer idea of my borderlines and guide me toward envisualizing embellishment placement and scale. At this stage that center seam treatment is looking pretty gimongous and my other stitching too dainty -- and puny. I continued adding and subtracting until I think I have it where I want it, although I may yet do a little tweaking.

PRUDENCE'S PROJECT PINK

2008-02-25T22:19:00.004-05:00

SCRUMBLING FOR A CURE

Here are a couple of scrumbles and some small motifs done in various pink yarns that will be sent on to Prudence Mapstone in Australia for Project Pink. Prudence will join them with others from around the world and create items for charity sale. The pic on top above was taken with flash and is closer to the actual colors. The pic below that is the same thing taken without flash and seems to better define the texture and dimension.

I DUNNO...

2008-01-28T19:31:00.000-05:00

... perhaps I should have left it alone. There's not that much different; I just filled in a couple of gaps.

With the exception of a cotton thread or two and the yellow cord, flosses and perles are silk and hand painted by Victoria Clayton. The feather stitching is done in perle and the chain
stitches are the same colorway done in 2 strands of silk floss. I'm not sure of the name, but it was from Vicki's dragon series. The chenille is also hers, and most of the silk ribbon, too. I used a bead soup of assorted sizes to fill in some of the negative space between the feather stitches.
On the far right the little flowers are purple sequins with size 8 triangle beads, which stand up in the center. The two purple pailettes in the center top are dyed shell, rough sides up.

I really came to enjoy this palette challenge and was surprised that I was able to work entirely from my stash.

FINISHED? NOT QUITE!

2008-01-28T13:17:00.000-05:00

I thought I was done, but I think I'll play some more. Meanwhile I want to share another Flickr pix that shares our January palette challenge. The photographer seemed intrigued that we actively seek inspiration for fiber art in nature. This picture struck me particularly because it seemed to portray strata of color and I had used a stripe for my foundation.
Lake in blues & yellows - Acadia, by Zombie37