Our first light snowfall of the year fell during the night this weekend—barely measurable—in inches. And immeasurable as a wonder of nature.
I've been reading up on the subject for an upcoming workshop, and was captivated by images taken with a photomicroscope. Snowflakes are truly one of a kind.
The November 20th Holiday Ornament Mini-Workshop at Ferrer Gallery will feature this snowflake theme. Participants will begin weaving unique fiber snowflakes that can be completed later on, just in time for the holidays!
A $10 fee covers materials, instruction sheet, plus a coupon for $10 off on a full-length workshop in January.
Want to learn more? E-mail workshops@dayidadesigns.com or subscribe to Needleweaving News from DayidaDesigns, a monthly e-Newsletter featuring workshop details and weaving tips.
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November 8, 2010
November 5, 2010
An Artist Trading Card—Selma in the Garden . . . in miniature
Ever hear of Artist Trading Cards, or ATCs? Similar in size to Baseball Trading Cards, these handmade miniature works of art aren’t for sale—they’re (almost) free. By exchanging a handmade card of your own in a trade or swap, you can build a mini-art-collection.
Here’s a card I made recently for an online fiber art Artist Trading Card group. Their monthly swap sets a theme to inspire participants. September’s theme was artists, and I chose to recreate T.C.Steele’s well known painting, Selma in the Garden. It depicts the artist’s wife hard at work tending her flower gardens. Compare my impression with Steele’s impressionist (and impressing) work at tcsteele.org.
My contribution to the September Swap used the same needleweaving techniques as my necklaces do, but I found it hard to keep to the exact 2 ½ x 3 ½ inch dimensions. It is very difficult not to pull the weaving thread too tightly at the end of each row. What should be a straight edge begins developing a figure.
The intricate curves and corners used in jewelry are actually easier to weave than a rectangle or square! I’ve used wire before to help shape necklaces, but didn’t want to do that with the ATC. I decided to continue weaving and try to pull it into shape later.
Most fabric ATCs are backed with either cardboard or a stiffer fabric—something to support the material and provide a surface to write the artist’s name, date and description. I recycled a piece of lime green cardboard to use as a backer. The little picture of Selma had a few open areas between the beads and the weaving, and the lime green color peeking through was perfect.
I used a clear school glue to attach the completed weaving, blocking it at the same time. First I drew the correct sized rectangle on the board and ran a generous bead of glue inside the perimeter and placed a bit in the center too. Next, I began pinning the weaving to it—starting at the top which had the straightest edge and working my way around, stretching it to meet the outline.
It all fit, except for the lower right-hand corner, where there was still a small gap. I’ve often had to invent ways to fix mistakes in needlewoven necklaces but ATCs are more flexible. I found some green seed beads and simply glued them onto that empty corner of the card. If only necklace repairs were that easy!
ATCs are a fun way to try out needleweavng techniques, and a nice change from jewelrymaking. Many scrapbooking stores have monthly Artist Trading Card exchanges, or for inspiration, check out Stitchin Fingers, one of the many online groups. My inspiration came from T.C. Steele State Historic Site, where Selma in the Garden and many more examples of Hoosier impressionism may be seen.
Selma in the Garden |
Here’s a card I made recently for an online fiber art Artist Trading Card group. Their monthly swap sets a theme to inspire participants. September’s theme was artists, and I chose to recreate T.C.Steele’s well known painting, Selma in the Garden. It depicts the artist’s wife hard at work tending her flower gardens. Compare my impression with Steele’s impressionist (and impressing) work at tcsteele.org.
My contribution to the September Swap used the same needleweaving techniques as my necklaces do, but I found it hard to keep to the exact 2 ½ x 3 ½ inch dimensions. It is very difficult not to pull the weaving thread too tightly at the end of each row. What should be a straight edge begins developing a figure.
The intricate curves and corners used in jewelry are actually easier to weave than a rectangle or square! I’ve used wire before to help shape necklaces, but didn’t want to do that with the ATC. I decided to continue weaving and try to pull it into shape later.
Most fabric ATCs are backed with either cardboard or a stiffer fabric—something to support the material and provide a surface to write the artist’s name, date and description. I recycled a piece of lime green cardboard to use as a backer. The little picture of Selma had a few open areas between the beads and the weaving, and the lime green color peeking through was perfect.
I used a clear school glue to attach the completed weaving, blocking it at the same time. First I drew the correct sized rectangle on the board and ran a generous bead of glue inside the perimeter and placed a bit in the center too. Next, I began pinning the weaving to it—starting at the top which had the straightest edge and working my way around, stretching it to meet the outline.
It all fit, except for the lower right-hand corner, where there was still a small gap. I’ve often had to invent ways to fix mistakes in needlewoven necklaces but ATCs are more flexible. I found some green seed beads and simply glued them onto that empty corner of the card. If only necklace repairs were that easy!
ATCs are a fun way to try out needleweavng techniques, and a nice change from jewelrymaking. Many scrapbooking stores have monthly Artist Trading Card exchanges, or for inspiration, check out Stitchin Fingers, one of the many online groups. My inspiration came from T.C. Steele State Historic Site, where Selma in the Garden and many more examples of Hoosier impressionism may be seen.
November 2, 2010
Kelly Hill
This view looking east into Brown County State Park has been photographed, painted and simply enjoyed by tourists, locals, and artists—for over 100 years. Each change of season brings artful possibilities. Redbud and Dogwood blossoms in the spring, freshly baled hay in summer, amazing fall color, and bare hillsides blanketed with snow.
It was a rare day this October when I didn’t see someone stopped to capture this scene as I crested Kelly Hill on my drive home from work. I’ve done the same, although in winter, when a light snow had dusted the fields with white. I snapped a picture to use as a reference for a future painting.
This was one intention that I actually followed through with—twice. This past spring, I took a very enjoyable class from Corrine Hull and recreated my photo using soft pastels. Here’s the result—my first try with this type of pastel.
Later in the year I took a mini-tapestry workshop at Yarns Unlimited, a local fiber store. I wrote about the beginning of that project in August, but as projects often go, this one was put on hold for a while. It’s finally complete, although late as a birthday gift.
Neither of my attempts really captures the depth of this scene. How the pasture falls, rolls and flows downward to the edge of the woods. How the forest rises up from the valley, and extends on until hills become haze . . . Picture perfect.
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