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Month: February 2025

Decovil explorations – Part 1

Decovil explorations – Part 1

Recently (October – was it really that long ago!) I enjoyed a workshop given by Kay Leech (www.kayleech.co.uk) to my textile group. The workshop was described as – ‘Make a vase using Decovil Light’. Perfect for me, as I had always wanted to try Decovil Light.

As with most tutors (not all sadly) Kay was exceedingly generous with imparting her knowledge and experience using this material. There was a small charge (£5) for materials, but WOW….did she supply materials!!!

01 Kay's inspiring collection of vases
01 Kay’s inspiring collection of vases

Kay showed us examples of her vases and gave us the basic instructions, plus large cut empty plastic containers, around which the Decovil would be wrapped. Nothing was prescriptive and we were allowed total free reign for our creations.

To begin with we had to paint our Decovil….I had done my usual pre-workshop research and having seen some of Kay’s work, had decided this would be an opportunity for me to do some abstract ‘stone-type’ creation, for which I had my go-to set of pages already printed. They are a collection from various artists and sources online and I use them simply to inspire my own thoughts.

02 My abstract stone inspiration collection
02 My abstract stone inspiration collection

This particular collection is all based on ceramics, rather than of stones. I dare not start printing my own collection of the latter as I have 1000s of photos, which brings me to a complete aside….

….Before the workshop officially started, I was chatting with Kay, only to find we had ‘stones/rocks’ in common and suddenly we were laughing at our geological adventures standing side-by-side armed with our phones, comparing photos of ‘stones’ of every description, size, and colour etc etc. It was as if we had each been using the other’s phone to take photos!

I’m used to having a textile thinking twin (were we parted at birth Karen L?) Kay, however, was a twin in another direction….but I have digressed too long. Back to painting….

I was off in full Star Trek mode – ‘to boldly go’ – wielding my brush to interpret what was in my mind. Then Kay walked around and glancing over at my usual, most amazing, textile buddy next to me, informed her that she had painted the wrong side. Oh yes, you are ahead of me and have guessed correctly….ditto!

Rather than start totally again, I decided to follow/duplicate my broad-brush strokes in the colours I’d used, pretending the colour had simply soaked through – this time, on the correct glue side. ‘Make in haste, repent at leisure’ comes to mind!

03 The Decovil painted on the wrong side
03 The Decovil painted on the wrong side

 

 

 

 

 

 

 

04 The correct shiny, glue side painted
04 The correct shiny, glue side painted

 

To the left is my first attempt to the right is the correctly painted ‘glue’ side (seen shining in the light).

 

 

Another aside….

….When I go to contemporary art galleries I’m always fascinated to see which hand the artist paints with, as there is often a dominant brush stroke direction. Why am I telling you this? Trying to follow my previous brush strokes meant I was placing the dominant strokes in reverse, and I found it actually quite strange….

05 My chosen plastic containers
05 My chosen plastic containers

 

Kay had provided sufficient Decovil for each of us to produce two pieces if desired. With my plastic containers chosen I had already cut up my Decovil prior to painting.

 

 

Still in Star Trek mode, I was the first off the starting blocks to the hairdryer, to dry out the Decovil. Then came the luscious part – choosing all the bits and pieces to create my vision, which, for those of you who know my work and likes, includes lichen! We could choose from – fabrics, paper, netting, foils, ribbons, sequins, threads to name but a few – which were all ironed into place on the correctly painted glue side. Each element gradually building up the picture.

06 The elements I wanted to add all ironed in place
06 The elements I wanted to add all ironed in place

My ironed-on pieces included tissue papers, mulberry paper, snippets of fabric, silk fibres, netting, metallic thread and metallic foil etc. Gradually it was heading in an abstract stone-like direction.

Once all the elements were in place, we were advised we could free-motion machine stitch or hand sew our pieces. As time was flying by, I elected to do some hand stitching to help anchor the various added pieces.

Using a favourite yarn I started creating a serious of Colonial knots, also my favourite!

07 Hand stitching started with my favourite Colonial knots
07 Hand stitching started with my favourite Colonial knots

Five hours simply evaporated into what felt like one hour. Then it was time for the group’s show and tell. As I mentioned above, this was not a prescriptive workshop and yet of the 15 participants I was the only one who had not created a landscape piece!

08 Our group's show and tell
08 Our group’s show and tell

 

 

 

 

 

Several vases shown by members of our group
09 The only one not a landscape!

 

 

 

Sadly, not all the work achieved during the day was on display in our show and tell.

 

 

 

 

 

I will leave you all here, hopefully awaiting Part 2….suffice to say it is now Feb and whilst the Decovil pieces have had more stitching applied, both by machine and hand, the vases are still not complete.

Until then I’ll show you a lucky charity shop find….

10 A bag full of potentially useful bits and pieces
10 A bag full of potentially useful bits and pieces

11 Yarns and gold thread plus bullion thread were part of my treasure trove

11 My treasure trove smorgasbord

Included in the wonderful collection were silk and gold embroidery yarns (probably from a goldwork embroiderer) – all now awaiting the right destination.

 

 

Have you used Decovil light and if so what has been your experience? Should I be concerned about anything?

 

A little picture

A little picture

I have been thinking I should do more of my stitched felt book. I have August ready to go but I just don’t feel like it. I don’t know why but I am sure you have all felt the same way about a project. So what to do, I am itchy to make something and I need something to chat about. So I went rummaging through my little bits and came up with this, It is approx 4×5 inches/10x13cm. The colours are a bit off the yellow is a bit more green and the blue is a bit more turquoise.

I decided the one on the right looked like some ground then some water and mountains in the background. If you squint I am sure you will see it too.

I started with the mountain adding some shades of grey to define the mountains I didn’t see the funny curved bit on the right until I took a picture,  so, had to smooth that out too. I am not sure why our eyes lie to us.

Then I defined the far shore

Onto the trees

 

And that’s as far as I am. Hopefully, I will have more done by the next post, but no promises.

The Red Dress Exhibition at The Pacific Northwest Quilt and Fiber Arts Museum

The Red Dress Exhibition at The Pacific Northwest Quilt and Fiber Arts Museum

While I was in class last week in La Conner, Washington, I was able to see the exhibition of The Red Dress at the Pacific Northwest Quilt and Fiber Arts Museum which runs through March 2nd. I actually hadn’t heard about this project before my fellow students suggested that we go and see it. The project was started by British artist Kirstie Macleod and took over 14 years to complete.

Red Dress displayed at Pacific NW Quilt and Fiber Arts Museum.

According to the Red Dress website:

“The intention of The Red Dress

Initially the project sought to generate a dialogue of identity through embroidery, uniting people around the world across borders and boundaries. However, over the 14 years it was created, The Red Dress also become a platform for self-expression and an opportunity for, often marginalised, voices to be amplified and heard, initiating vital dialogues on important and frequently uncomfortable issues.”

Close up of Red Dress displayed at Pacific NW Quilt and Fiber Arts Museum.

The embroideries were created by 380 people from 51 countries all over the world.

Close up of Red Dress displayed at Pacific NW Quilt and Fiber Arts Museum.

Each contributor was encouraged to create a piece in their own style reflecting traditions of stitching from their own region/country.

Close up of Red Dress displayed at Pacific NW Quilt and Fiber Arts Museum.

It’s amazing to me that the embroidered pieces flow so well together. Imagine the work it took to put all the pieces together as there were 87 panels to combine.

Back View of Red Dress displayed at Pacific NW Quilt and Fiber Arts Museum.

It was wonderful to be able to see this in person and see the embroidery closely.

You can see more of the Red Dress project at their website.

Bodice of Red Dress displayed at Pacific NW Quilt and Fiber Arts Museum.

The Red Dress will be traveling to other locations and if you get the chance, it is well worth seeing in person. Here’s the schedule of the exhibitions. Scroll down to see the upcoming exhibitions.

There are more photos and information on the website. I hope you enjoyed this brief glimpse at a wonderful project.

Wrestling with the horns of a dilemma – Art Yarn!

Wrestling with the horns of a dilemma – Art Yarn!

For a long time, I have been promising myself that I would take a workshop to get some sort of grip on how to use a spinning wheel.  My friend Trish Kerr runs Irish Alpaca Yarns and she has for a long time been offering me a space on one of her spinning workshops – the stars never aligned as, invariably I was busy on the day.  Then, in December, the offer was once again made and, I was actually free!  The beautiful venue was not far away, Cornstown House (https://cornstownhouse.ie/) which was not far away from me.  Happy days!  Unfortunately there was a huge storm the night before but, despite fallen trees, we awoke to a clear bright day and I negotiated my way to the venue.

We were spinning using alpaca fibre.  I hadn’t realised it until then but some people who have an allergy to wool fibre can wear alpaca.  The irritant in wool apparently is the scales and alpaca does not have scales.

There were 5 students and some had previous experience.  Luckily Trish is an amazing teacher. I had warned her that, given my hideous coordination when learning something new, that this could put a serious strain on our friendship.  She laughed it off.  Trish has great patience which she got to draw on in bucket loads when it came to teaching yours truly!

We were working off Louet wheels which she supplied.  She is quite an expert on the older more traditional wheels too, and she was able to offer good advice on how to get an old wheel which a student had brought, back working again.

Trish got us all set up and was very attentive throughout the morning.   The first skill we worked on was treadling, as a first timer it took a lot of effort but after a while I had the wheel moving in a clockwise direction.  She set us up with alpaca fibre and soon we were all spinning.  Some (by this I mean most) much better than yours truly here.  But I was having fun.

Trish started us all off drafting setting us up with Alpaca yarn

The morning flew and we stopped for a delicious lunch and tour of the farm, both supplied by our most gracious hosts, Fionnuala and Dominic.  The tour was great fun, featuring  lots of Alpacas, some rare breed sheep (including one that loved to be patted, a cow and donkeys.  The farm offers Alpaca Trekking and workshops along with other events. When I explained that I primarily was a feltmaker and showed an interest in the Teeswater, Dominic disappeared for a few minutes and arrived back with some raw fleece for me to play with when I got home.

When we returned from our tour, Trish gave us a presentation on alpaca fleeces which was very interesting.

We plied our yarn in the afternoon.  Now that I had ‘mastered’ the clockwise, introducing the ‘counter-clockwise’ was, let’s say, interesting.  This is what I produced.  It is, I believe, kindly referred to as ‘Art Yarn’.  Now, I am in the horns of a dilemma.  I want to spin more but I don’t want to ever spin a nice even ply.  The general consensus in the room was that once you perfect the spin you can’t return to the Art Yarn.  Now, while I appreciate that at my learning speed, perfection is a long way down the road.  I don’t want to get there but I would like to spin more art yard and, if I’m honest, I would love a new toy in a spinning wheel.  Any ideas?

My plied alpaca art yarn

I played with the Teeswater when I got home.  Here is the result:

Last year, I wrote up a number of posts about various dyeing  workshops I had attended.  In one I dyed a lot of fabric samples and wondered what I should do with them.  I think it may have been Ruth who suggested that I could think about stitching into some.  I have never embroidered by hand before but decided to give it a try over Christmas.  Here is my first effort.  I was inspired by a photo online.  Once completed, I padded it with some cotton batting and backed it with linen.  I might frame it  at some stage but I will need to find a suitable frame.

Using the dyed fabric samples, I tried my hand at embroidery over Christmas

I totally enjoyed my day spinning, even though I was pretty dreadful at it. But I love the result and for once, I really don’t want to improve greatly at this. Long live Art Yarn!

Do you agree? Any hints and tips on how I can retain my current standard? All suggestions will be very gratefully taken on board. I’m just looking for an excuse to buy a wheel.

A FEW MORE PROPS or An Exercise in Futility

A FEW MORE PROPS or An Exercise in Futility

I have made quite a number of props for various productions put on by my local amateur dramatics society SNADS and they usually get used.  However, because of one thing and another, there are some that ended up “in the bin”.

Last February our pantomime was Aladdin.  It was the version which has a genie of the ring as well as the genie of the lamp.  The ring belongs to Abanaza, the baddie, and when it is rubbed the genie appears.

The script did not indicate what type of ring it was – finger/ear/curtain/boxing/circus – though the former was probably what was meant.  It was felt that a finger ring would not be seen by the audience and, since this was a pantomime not a play, and “over the top” was the order of the day, we’d make it big enough for the back row to see it.  It was to be bangle size.

I showed the production team a page of different types of ring for them to decide what the ring should look like.  The director chose the ring with the dragon’s eye.

showing 12 different ring designs
This is what I showed the Production meeting and asked for a decision on the required design. The dragon’s eye ring is 2nd from the right on the top row.

To begin with I decided to use a wooden curtain ring as the base but it soon occurred to me that unless I used glue I would find it very difficult to safely attach a glass dragon’s eye to it.  Glue is always a last resort in stage props or costume because if it is going to fail it will do it in mid performance, sod’s law being what it is.

piece of non-woven cotton fabric, wooden curtain ring and fimo "eye"
The original materials for the ring

So it had to be textile based so that I could sew everything to it.  I used some scrap felt “moulded” into a circle and wrapped it with strips of the non-woven cotton cloths that I tend to use for just about anything these days.  The felt and cloth together would keep the shape I needed by the time I’d finished with it.

a ring wrapped in non-woven fabric strips, stitched down
scrap felt strips covered by strips of unwoven cotton cloth, yarn wrapped and stitched down.

I had researched glass eyes but could not find exactly what I wanted that could easily be affixed to the ring so in the end I decided to use one of the Fimo eye blanks I had made some time ago.  They had short pieces of pipe cleaners embedded in the back to help with fixing.  I did use an image of one of the glass eyes as reference for painting the Fimo eye, which I did with acrylic paints, glitter glue, glitter nail varnish topped with several coats of clear nail varnish.

fimo "eye" painted with acrylic paint, glitter and nail varnish
The finished fimo eye, painted with acrylic paint, glitter and nail varnish

I attached the eye to the ring with the pipe cleaner and then stitched the pipe cleaner to the ring to make sure it stayed there.  I added a piece of scrap felt around the eye in the shape of the edge of eyelids which I stiffened with PVA glue, at the same time adding the glue to the rest of the ring.  After a couple more coats of PVA had dried I set about decorating the rest of the ring.

The original design of the ring was somewhat “steam punk” so I fished out some chains from my stash, some lengths of threaded black bugle beads and some wires.  I also found some gold cord and, pinching an idea from Lyn which she showed us in one of her posts, I wrapped some wire around the cord so that I’d be able to bend it to my will.

The silver chain I used mainly to surround the eye, and wrapped the rest of the ring with the black chain, the gold cord, with and without wire wrapping, and the black beads.

The gaps of the ring showing between the wrappings I painted with a couple of coats of silver, bronze and gold metallic acrylic paints and there we have it.

A decorated large size ring
The finished ring

I delivered this to the rehearsal space and a couple of weeks later, when they got as far as rehearsing the scene in which Abanaza would remove the ring from wherever he was wearing it and hand it to Aladdin, it was decided that it would have to be a finger ring after all (and we had plenty of those “in stock”).  So now the ring is hanging on my bedroom wall.

The other props that I have made that didn’t get used were intended for a play entitled “Chase me Up Farndale Avenue S’il vous plait”.  I don’t know if any of you have heard of the Farndale Avenue Townswomen’s Guild productions – they are plays within plays.  I think it likely that the original “Play that went Wrong” was based on these.  Anything that could go wrong did, of course.  This latest production was to take place in May 2022 and the main thing that went wrong was that it wasn’t performed after all – various problems mounted up and it was decided not to proceed with it.  By that time, with sod’s law still operating, most of the props that were my responsibility had been made.

The three main things that I needed to make were a vacuum cleaner, a paper bag of baking flour, and an iced cake.

“Simples” do I hear you say?  Well the flour bag falls open at the bottom on being picked up, and lets loose a load of flour.  The cake gets trodden on during the play but was sufficiently intact to be offered to someone to eat.  As far as the vacuum cleaner was  concerned, it had to look like a Hoover Junior, which does (or rather, did,) have a distinctive appearance.

I actually make my own bread so have ready access to paper flour bags.  When I had emptied one of these, I carefully opened the bottom of it.  Using some white polystyrene, I made a “pile of flour” shape that would fit inside the bag.  I smoothed off the polystyrene and gave it a coat of PVA glue and some of my non-woven white cotton fabric.  When that was dry and placed inside the refolded bag, I added a little loose flour – enough to be seen to puff up when the bottom opened, but not enough to cover the stage in it.  I had also asked Mr Google for a suitable image which I could manipulate so that I could paste a recognisable baking flour design over the bread flour image on the bag.  It would have been quicker to just write “Cake Flour” in large letters and if we had been producing a pantomime that’s what I would have done.  However a play requires a little more verisimilitude.

An open baking flour bag and a mock up of a pile of flour
The loose bottomed bag and it’s load of flour

Next the vacuum cleaner.

Not surprisingly, no-one had a Hoover Junior to lend us, so I had to do my best to made a cordless electric carpet sweeper look like one.  All that there was to the carpet sweeper was a base with the brushes in it on the end of a pole/handle.

a cordless electric carpet sweeper
A generic cordless electric carpet sweeper of the type used as the base of the Hoover Junior

So I found an old fabric bag of about the correct size and colour to replicate the dust bag and suspended this from the handle on some string attached to a slide-on plastic filing bar.  The bottom was gathered onto a plastic ring and attached to the top of the cardboard mock up of the hoover body which was affixed to the sweeper body with masking tape.  My husband produced a length of cable with a plug on one end.  The cable was secured down the handle and onto the mock up body, again with masking tape.  Google had kindly supplied me with an image of a Hoover Junior (complete with adoring housewife thanking her kind husband for the present!) from which I was able to obtain a print out of the Hoover logo and also the appropriate font for the word Hoover.

advertisement photo of woman with Hoover Junior also showing logo and font for "Hoover"
Reference pic – a Hoover Junior and a “housewife” delighted with her birthday present! It also gave me the logo and the font needed to add “Hoover” to the dust bag.

The letters of the word were affixed to the “dust bag” and the logo to the mock-up of the body of the cleaner.

Unfortunately I didn’t take any photos of the completed cleaner, or any of the stages of construction, but it would look sufficiently like a Hoover Junior when viewed from the auditorium.

Finally the cake.  Since we manage, during panto rehearsals, to empty quite a few of the round tubs of chocolates that abound around Christmas we usually use one of these to represent a cake.  Turning it upside down we paint it white, or whatever colour the icing is supposed to be and stick on pretend cream or icing decorations.  We actually had one in stock, well it was a work in progress, the tub base/cake top had been painted, but the sides were awaiting completion.  All I had to do was insert a size 9 footprint.

Mr Google (what did we do BG?) gave me an image of a suitable footprint and I enlarged it to the appropriate size, printed it out and, using it as a template, cut out the footprint shape from the surface of the “cake”.  I then stuck the printed foot print onto that piece of plastic and, using stiff white paper, suspended the footprint below the hole in the cake surface, to replicate the damage that treading on the cake did to it.

I would then have painted over the cake again, including the sides this time, but by this time the powers that be had decided that the production would not go ahead.

So the cake was binned, the Hoover dismantled and the flour bag put into storage, and we all went home!

 

Needle felting book fist impresions

Needle felting book fist impresions

I am home from surgery, and still quite sore. Last week I was feeling too sore to felt, so tried to keep reading my new book but none of the words wanted to cooperate and enlighten me. hummm. Ok, let me try that again in a few days ( Stupid anaesthetic brain). It’s now a week later and words are not just pretty shaped line, so I returned to enjoying my new book, still a bit slower than usual but then I will just enjoy it longer. I would like to give you my first impressions. But first, you probably want to know what it is I am trying to read.

For Christmas, I received the third felting book in a series by author Cindy-Lou Thompson; A Masterclass in Needle Felting Endangered Species: Methods and Techniques to Take Your Needle Felting to the Next Level. I have her two previous books and was excited when I saw the third listed as soon to be published. My husband seems to have noticed that excitement since it was there Christmas morning. (I found an excellent blacksmithing book about making locks for him).

1) Christ mass presents from 2024 candy, bergus shails stuffed fossel creature, and felting book 1) Christ mass presents from 2024

This is not written as a beginner book. The felter is expected to know how to, or figure out sculpting shapes to create a firm under-structure. She includes an interesting overview of her tools and covers specific techniques as she explains her projects.  She explains she was self-taught and has, as a result, come up with some interesting ideas that I had not seen in other books.  This creative approach makes her books worth looking through and considering for your library.

2) Cover of Cindy-Lou Thompson latest book 2) Cover of Cindy-Lou Thompson’s latest book

 3) A sample page from the chapter Getting started tools and equipment3) A sample page from the chapter Getting Started, tools and Equipment

Book Content:

  • Dedications and acknowledgements
  • Preface
  • Introduction
  • Getting started tools and equipment

Projects:

  • Snow leopard
  • Przewalski’s Horse
  • Painted Dog
  • Secretary Bird

 

  • How to prepare and blend Merino wool
  • Fur attachment
  • Glossary
  • Suppliers

Four endangered species are used as examples, to show some of the techniques she uses to make her sculptures. She uses cabochon eyes and the tinting of fibre with pastels or makers as well as fibre blending to create colour. Again she assumes previous knowledge of sculpting with wool but she does show how she does a lot of her finishing

  • Snow leopard – eyes and armature wire, adding spots (blending, markers or powder pastel)
  • Przewalski’s Horse – hooves and reverse needling. Silk clay and Mod Podge
  • Painted Dog – Short reverse needle coat, clay nails, acrylic eyes, on a grass base
  • Secretary Bird – eyes and feathers

4) Sample page of snow leopard instructions4) Sample page of snow leopard instructions

5)sample page of Przewalski’s Horse project5)sample page of Przewalski’s Horse project

There are odd little bits of information that were left out. Such as,  what kind of mettle is in the coated wire she is using. Ok, I might be the only one really curious about this. I am suspecting it may be steel since the coated garden wire I have found here is steel and not aluminium. This may be a UK vs Canada shopping thing, and there may be coated aluminium there.

I also found her understanding of fibre prep a bit odd, her definition of core wool is a bit unspecific. I have a strong suspicion she does not spin fibre, so has not investigated the difference between Combed (top), whose fibre alignment is generally parallel, which makes worsted yarn, VS Carded (roving or batts) whose fibre structure is more disorganized, thus easier to needle felt, which make woollen yarn. Carded fibre can be removed from the carding drum as a batt or various widths of roving. Unfortunately the word “roving” is missuses by some sellers who sell combed top as Carded roving since they both look like long strips of fibre. If you look carefully at the strip, if the fibres look mostly parallel it’s combed top, if it looks more disorganized it’s carded roving. Core wool is usually carded or carding waste, not a breed or special type of preparation. World of Wool sells both a roving and carding waste version of core wool. I have used both but found re-carding the carding waste made it easy to use.

That said even with a few odd bits of vocabulary, this is a book worth looking at and probably getting. I am not sure I will try any of her projects, but some of her techniques may turn up in something else I do in the future.

Sorry this is a bit shorter than the small books I usually write, but recovery is a bit slower than I had hoped and so far has been an exciting roller coaster of pain, but it’s much better than last week!

Making a spindle case mark 1 continued

Making a spindle case mark 1 continued

Last time I was telling you about a spindle case I was working on. It is here if you missed it making-a-spindle-case-mark-1

last time I had added all the wool so now it was time for some decorations. I grabbed some of my handspun and covered the case in a random pattern all over, remembering to go under the flap and to leave some sticking out to wrap around so it is continuous on the other side.

The other side. I didn’t do the ends because they would be folded. I did cover all the yarn with a very very thin layer of the background wool as I wanted it to adhere without too much effort.

I gave everything a good rubbing until it was starting to shrink and the yarn was well stuck and then rolled it.  I got it back down to 12 inches in length but the other way didn’t want to shrink up.

I rolled it more and harder in that direction. I heated it and rolled it in my hand but it didn’t want to go where I wanted it. I thought I would try rinsing it, and throwing it in the sink and shocking it with hot and cold water. Fortunately, that did it. The next step would have been putting it aside for a few days and trying again. I do know from experience that letting something rest often works. But I didn’t want to wait.

Here it is finished. It looks ok. I am not sure I like the accordion folds on the ends. I have never been good at them, they never look sharp like I see others.  The next one may get different ends. Overall the look is good but it is not stiff enough.

spindle case closed

spindle case open

 

end of spindle case

Here it is with 3 different size spindles in it. I am using the clip to keep it open. the small one is very loose in it. The medium one is a fairly good fit and the large one will not fit at all.

felt spindle case with spindle
spindle case with small spindle

spindle bag with spindle
spindle case with medium spindle

spindle outside case for size
Medium spindle outside case for size.

Large spindle not fitting in bag
Large spindle not fitting spindle case

Different wool might be better. I used Merino because it is what I have the most of. Coriedale might be enough but maybe Finnish or Bergshef.  I also think it needs to be thicker as well as stiffer. It doesn’t feel like it would be very protective against bumps and knocks. What are your thoughts on improvements?

Deconstructing a Book about Trees

Deconstructing a Book about Trees

My art group has started a new project. We are taking old, unwanted books, deconstructing them and then reconstructing into a new creation. Paula has tons of old books, antique papers, photos and memorabilia that she has shared with us.

She found the perfect book for me. A reference book about trees that came out in 1950. It’s a great start on another tree book.

Hand made mark making tools

We had a session on mark making. These are tools I have made in the past for mark making mainly using turkey feathers. They give some random looking marks which was great for our project. We used different tools on different types of paper to create some random and some not so random marks. None of these are finished “works of art”, but will be used in different ways when creating the book.

These first sheets were a start using different tools and getting some lighter, thinner marks and then thicker, heavier marks.

I then started thinking more about trees, branches and leaves. The bottom right is a Japanese newspaper that my friend Louise gave us.

Then I started playing with spraying water on the pages and then adding ink to create pine trees. This is a bit tricky on figuring how much water to spray first and then draw your trunk through the water and watch the ink spread. You can add little dots of ink where you need more branches.

Mark making on papers

This was my favorite of the trees that I created.

Here’s some leaves with different tools used to create different types of marks and lines.

Mark making on papers

I have also been putting gesso on a lot of pages so that I can either draw or add painting to the pages.

Deconstructed screen print on paper with black background and yellow highlights.

I chose my color scheme from this deconstructed screen print on paper. The colors will be black, burnt siena and yellow ochre. Perhaps there will be touches of green but I haven’t gotten very far yet. This will be another long term project that will be a slow work in progress. I will update you periodically on how it’s going.

Completion.

Completion.

I had a viral illness all over the Christmas period, or perhaps, a severe bout of ‘man flu’! I really only began to feel better mid January. Mostly, sneezing, runny nose and, tired all the time with little energy for anything, and that included any productive thinking about my blanket and this post.

I eventually managed to heave myself out of the doldrums, and I began to think about what I needed to complete the stitching design on the blanket top. There are quite a few small areas that are a little threadbare, and some areas that have provided comfort for the odd moth or two as well. So, a plan was needed to cover as many of the holes as I could, while adding to the overall decorative effect at the same time.

I found an old woollen tea cosy on one of my charity shop trips, and this had some areas that were embroidered with a pretty floral design. Some areas had a little moth damage, and the wool embroidery area was really pretty, but was very grubby. I washed the tea cosy by hand in very cool water with a little liquid soap and some washing soda, with very gentle movement in the bowl. Following a little soak it was much brighter – same colour as my blanket! I was unsure how fast the dye of the embroidery wool would be, but it was ok, and only a very little dye run was visible.

I cut out the embroidered areas of the tea cosy, two large, and three smaller, and positioned them in place on the blanket, and moved them about until I was happy with the overall look. They were stitched down with a blanket stitch, and most of the threadbare areas of my blanket were covered.

Then I embroidered some random groupings of flowers in other areas on the blanket using different colours of floss. These were done in a lazy daisy stitch. I added french knots, or a satin stitch to the centre of the flowers. The floss I used is quite old, and it did not always agree with french knot making! Then I added some green stems using fly stitch.

I think the whole effect is quite pretty, and the overall effect of the felt and stitched corners works very well with the embroidery. I think I can call it done now, but I still need to put a backing on it to cover the workings on the reverse.

My photos are awfully large still, I have tried to make them smaller, so apologies.

When knitting rebels against you…

When knitting rebels against you…

…or, “when you’re a monogamous knitter and can’t bring yourself to knit anything else, even when you’re tired” – that could be the alternative title, it just slides out the tongue, doesn’t it?…

I am the sort of weird person who can’t stand multiple unfinished projects, I’ll definitely forget they exist if I don’t give them my full attention until completion. Sadly, this means I am stuck with a knitting project that challenges the brain even when said brain is clearly too tired to work on it. I’ve been very busy lately but also very stubborn and insisting I can knit something complicated even when I can hardly keep my eyes open.

Clearly this is headed for success!

Let’s backtrack: I got obsessed with a colourwork jumper I saw on Ravelry a while ago called Side Eye. To my eyes it is magnificent and just the sort of thing my wardrobe is wanting. I had some precious baby Yak yarn that would be perfect for it.

A frontal photo of the Side Eye jumper
Photo by Caitlin Shepherd

Of course, I apparently also crave chaos, because the version I really wanted to knit was one that had some colour changes. I wanted the same version as a Ravelry user called Viorelknits had made. Their version took my breath away and I needed one just like it.

Viorelknits' version of the Side Eye jumper
Photo by Viorelknits

To the unconfounded mind, this version might seem like a simple question of creating a couple of extra rounds in the knitting to switch colours and Bob’s my uncle. To my very confounded mind though, this was a bit of a nightmare. My tired braincells just refused to compute the change. Did this mean I rested and came back later? No, this meant lots of swearing and persisting!

My version of the Side Eye jumper, still unfinished

I have so far managed to knit the bottom successfully, but had trouble interpreting the changes Viorelknits made to their version to make the colour change possible in the section shown on the needles above. This means the beginning of my ram’s head doesn’t look as neat, and now there’s a possibility I might have to frog part of the top bit – can you imagine how much work it’ll be undoing colourwork?

So, wish me luck and keep me accountable, let’s see if my next blog post features a finished jumper, or whether I have instead gone into hiding and hate all yarn until infinity.

See you next time 🙂