Posts Tagged ‘creativity’
So it’s a crazy time in the studio right now – 7 projects, five of which are big ones. Two deadlines coming up this next Monday for photography…see, Kathy Nida – I’m calling the photographer ahead of time to get myself to the deadline!
Here are the first two of the seven….I’ve been quilting baby quilts for a friend who works at the middle school we both did, me back in the mid-seventies. You can see the last baby quilt (before all the deadlines hit) here. I enjoy doing them, we usually get a free lunch together, and it gives me a chance to practice my free-motion skills – kind of like practicing free throws before you need them for the big game. You can see the children’s literature theme – the books usually stay the same, and the colors change to the new mom’s preference. ALL pictures copyright 2017, Linda A. Moran. PS – thank you, Superior Threads!
Now for the next project – I decided to make quilts for my great-nieces and great-nephews when they turned 13. You can see Gracie Mae’s quilt from two years ago here. Now it’s Gavin’s turn, and I did another “modern” quilt with the colors he wanted. Again, a great chance to practice design and free motion quilting. In looking at the one two years ago, I can see the improvement in my skills. In two years I owe two new birthday quilts.
I really wanna learn to use rulers like Judy Madsen…..
On to “Eruption” and the “Threads of Resistance” quilts…….
Can you tell I love me my unpolished red satin? This is “Mandala 1: Core,” also published in Linda Seward’s book Ultimate Guide to Art Quilting Techniques. It’s free motion quilting, but the nice thing about using marbled patterns is that you have lines to follow!
I taught beginning free motion quilting this past Saturday and had a FABULOUS time!! When I did my lesson plan for the class, and then as I was going through it with my students, a few things became very clear to me.
- Everything starts with a straight line done with the free motion foot. It helps develop rhythm and hand placement. No longer will I start with a motif when teaching beginners.
- It’s easy to go from straight line to stippling (large, medium, and micro) as well as figure out how not to get in a corner and have to stop. My students found it very easy to move quickly and easily into curved lines.
- At this point we stopped to talk about threads and tension. It seemed a good point, and there were questions cropping up. The biggest problem they (and probably most of us) have is silencing that Inner Critic and realizing we have to practice – most of us aren’t willing to approach it that way at the beginning. (Ask me how I know that…). One person had bobbin issues, and the rest were concerned with moving that upper tension dial, as well as determining if their machine like same thread top and bottom, or another combination. I need to remember for future classes that “same thread top and bottom” may be more helpful to beginners. I’m so used to the quirks of my machine and how to work with different top and bottom
- Next pattern was a basic heart-shaped leaf, first learned by me in the 2012 Free Motion Quilting Challenge by quilter Frances Moore.
- Pebbles were next – large, medium, fill-ins, different sizes. This seemed a natural progression.
- Then spirals, grid patterns, and feathers. No one really got frustrated, mainly because they could see how previous learning morphed into a new pattern pretty easily.
Lots of samples from me so students could see practical applications within actual quilts, as well as all my practice fat quarters that I now use to practice or check tension before beginning a new project.
Best part? Everyone signed up for Intermediate FMQ in March!
For over 13 years this piece has been known privately as “Ode to the Fire Goddess Pele” as a result of my time in Hawaii. It’s official title is Gaia 2: Beginnings. Our biggest problem has been that it was meant to hang on it’s own, but we were unable to figure out a simple – and not intrusive – hanging system. So for the last year, since we have been showing our work in Vermont, we’ve talked about mounting the piece – somehow. Here’s the story of the creation of the original piece.
That led to me deciding to completely redo the piece – ev.er.y.thing. It took two weeks of night time by the television to get all the machine quilting pulled out. In the 13 years since this was finished my machine quilting skills are SO much better. I will say that my original tension was so bad that in many places all I had to do was pull a thread and I had many many inches come right out.
My new plan is to requilt it, change the edging, mount it on a large piece of black fabric, quilt the black fabric, and then add a sleeve. I need to have all this accomplished by May, as I plan to enter it into the “Abstraction” show in Saranac Lake this summer.
Right now I have 12 strips still with serged edges. I found a FABULOUS piece of red and gold fabric in my stash, and (hoping I have enough) I will put the binding on over the serged edges. It looks really good so far.
A close-up of the original weaving with the serged edges.
This piece will also have a new name: Revolution. More on that as I get further along in the quilt.
Cleaning out as part of getting into new ventures for the new year – resizing, sharpening, rephotographing fabrics – here are some sample fat quarters we have created over the years. We get tremendous joy out of creating – some look similar, but it seems like endless opportunities available to us to play with fabric and paint. Remember, we can customize for you! Let us know what you think….THESE ARE NOT FOR SALE – just pieces we have photos of from the past!
So many iterations of traditional patterns! All from toothpicks, Popsicle sticks, straight pins, t-pins, small hair pics – lots of balsa and a huge amount of time to make the combs and rakes. It’s the prep that takes so long before you can have hours of fun!!
There were a lot of other small items completed – some UFO’s and some brand new. The small piece at the left (24 0nches square) was an OLD top from many years ago – part of a pattern kit for customers using marbled fabrics. The quilt top had some serious rolls of fabric where the iron (and the user…) had pressed wrong. So I to0k out all the stitches, fixed it, made the sandwich, and then requilted it with my practiced free motion skills. A lot of new patterns from Lori Kennedy’s The Inbox Jaunt – she has amazing tutorials.
Then there were pieces where I looked through pieces of marbled fabric we had saved and waited for one to speak to me. A lot of them did in the course of the year. “Sonoran Desert” was one of those. this was done on white denim, and it was a pattern I’ve not quilted before – but it spoke to me of the saguaros of the Sonoran Desert.
Didn’t like this binding – too sloppy to control, so did a regular fabric binding. It hung in our library show and now has a new home with a woman who lived in Tucson for a number of years. Added a few semi-precious pieces of turquoise, agates and lava.
A friend keeps us supplied with all sorts of remnants of cottons, polys and silks. We used a couple to see if they would marble – and they did – spectacularly. One of them went immediately to our son in Seattle – he loved the dark colors – said they were “sexy.” The one he received was “Sliver of Moonlight.” First pic is of the plain marbled fabric, second is seeing the stitching. Unfortunely no final pic of it mounted.
This one is same fabric – black poly-silk, and is called “Whispers in the Moonlight.”
There are more pieces, but I need to move on to new projects…..more on an upcoming sale we are having – next blog post!
hitting 1000 b logposts……
This was a big year for showing our work – many more options and acceptances than most of our time in Arizona. We taught a beginning marbling class at BluSeed Studios in Saranac Lake, NY, and in the process of chatting, we became part of their arts curriculum grant project. I’m really looking forward to this activity; I miss the days of working with The Kennedy Center to bring integrated arts into the classrooms in the Chittenden East School District in Vermont.A lot of great memories from the conferences, and then great memories from arts work within the district (need to do a blog post and reflect on the work we did….)
A couple of pictures from our Saranac Lake class, followed by an individual machine quilting class I did for a fellow artist who wanted to expand her techniques. Mary Hill is a mixed media artist, with vibrant work.
We spent Vermont Open Studios sharing space with Mary over Memorial Day Weekend. LOTSSof great discussions on marketing!!
Plus, since May I have been working on an interactive teaching manual for the ebook Interactive Edge of the Sea. This takes all I have worked on in curriculum in 40 years of teaching and brings it together for teachers, with a modern update on using all forms of new assessment and social media within the classroom. My hope is that this manual becomes a template for other disciplines, as there are a lot of useful interactive teaching techniques – and everything is correlated to current educational standards. A labor of love with my second mom, Betty Hupp. Here’s the cover:
We are just about done with final edits, and after the first of the year it heads off to coding. I have a lot of links to check to be sure they all work!
Bunches of shows…..here are pictures of our small pieces at Sweet Grass Gallery in Williston, VT for the month of November.
There’s still more…..stay tuned!
I was very involved this year in helping others create some wonderful fiber art. First up was a baby quilt for a teacher at a former school of mine. The teachers all created blocks based on children’s books, and then along with the baby quilt, gave the books to the new mom. It came out so cute!
You can see the machine quilting – “leaves” for the pages of books – the leave of a book……a lot of fun to quilt. Next time….stabilize the pieces before they are sewn into blocks….
How many books can you identify?
LOVE Patricia Pallaco!
Two more baby quilts scheduled for the new year….prolific bunch at Camels Hump Middle School!
A good friend made a “science fiction” quilt for her son – a gamer, doctoral student, and avid reader. It was SO MUCH fun helping in the process, from using spray basting, to zigzagging quotes, to creating the dragon (a “must-have in this quilt). It hangs from a curtain rod that is very “Lord of the Rings” in design. I was responsible for the machine quilting of dozens of galaxies within the quilt. The dragon has a lot of marbled fabric within it, and it works so well! Kathy did an amazing job. Teeth, flame, wings, and horns all crafted from marbled fabrics. Hubby Dave did the design for the pattern, Kathy did the contruction with vinyl and a few other fabrics.
The last heavy sewing/quilting happened when my friend Kathy wanted to recreate a marbled wall hanging of ours that one of her daughters loved. Sure…..to find she wanted it reversible…and a few other changes….
The story of the original piece is here.
I don’t have any finished pics at this point – just an in-progress. Oh, did I forget to mention she wanted one for each daughter? Different colors for reversible? Different quilting patterns? It really was a lot of fun, and it challenged me to revisit a reversible binding….but I made Kathy do all the hand-stitching……
A close-up of in-progress……
The year started with this commission: The Arroyo –
…and we’re not done for the year!!
Aside from being under the weather…and seriously behind on the February newsletter….I am confronted with the dilemma most artists face at one time or another: time for making and time for marketing. Lately I’ve been spending a lot of time either at the machine or at the marbling tray. When I do that for any length of time, I begin to worry about other aspects of the business. But when I spend too much time on marketing, I worry about not being at the machine. Right now I have three pieces basted, two commissions to design, and about four other ideas begging to get started, and about 50 fat quarters that need to be marbled for StashFest. And…a new machine to learn, so I can expand some of my ideas, as well as finish some Craftsy classes to begin dyeing and wax resist. These are not just for me to play around; I really want to see how I can take the marbling in some totally different directions.
But then I also want to finish the two e-books and three patterns I have started in order to build up the passive income for the business. I haven’t felt the need to do a brain dump…I know exactly what needs to be done and what the deadlines are. And I’ve had requests for an online digital marbling set of sessions, so I want to pursue that.
I compare it to taking breaks for reading. Sometimes I just need to slow down, so I engage in a lot of reading, until I am drawn to something at the machine that tells me it’s time to change gears. I’ve been reading Patricia Cornwell’s series, and it’s getting kind of grim, so it is time to move on to other book genres. Plus, I just want to feel healthy again….after a series of multiple sneeze fits today, I’m not sure I’m totally out of the woods in terms of being sick. Frustrating, but I will persevere.
I finished the instruction book and dvd on my new machine, so now I’m going to splurge and make a stitch sampler as I try out the new baby. Good way to spend a Friday night!
I’m participating in Dale Anne Potter’s weekly art journaling project for this year. This week’s prompt was “Right now – what drives you?”
I spent a lot of time this week processing that. Travel certainly is a driving factor, and I want to try and get as much in as possible in the next few years. But…on a day to day basis, I’d say it has to be creating with fabric. It’s not all art, but a good chunk of it turns into something pretty wonderful. And I find I am really trying to get as much art time in as possible, what with trying new ideas, redoing old ones, and just generally learning more about materials, fabrics, and techniques.
That said, I was looking at the lists I’ve developed on year-long projects, month-long projects, and weekly tasks. For the last two years I haven’t entered Fish Follies because I haven’t gotten anything new made. I had a fabulous idea last year, but the deadline was as we were coming back from StashFest in La Conner. I had the who piece worked out in my head, but the very first piece would be creating the zentangle artwork that I would need as the base for all the fish.
So as I’m looking at my lists today and contemplating writing about this question, when it occurs to me to just start doing the basic artwork. Start on it, so I can see the progress and realize I really am working on creating, not just reading the lists. I figured if I created the zentangle on a large sketchpad piece of paper, then scan it, I could create the fish I needed and they wouldn’t all be exactly the same. So two hours later, here’s what I have so far….and a long way to go before this part is completed……
Lots more to go, and it will be interesting to see how it photographs – I think it will be too large for the scanner, but at least each of my fish will look very different.
What I like about this prompt this week is the sense of commitment to creating, and when I combine it with my word for the year – optimistic – it feels like a really good fit!
Another week and we’re half-way through November….goodness, where does the time go? Here’s some goodies from the week.
For all of us creatives, here’s an interesting little video from Behance about what we do:
In light of Veteran’s Day is this beautiful, heart-wrenching letter about loss.
Ode to our neighbor to the north, Canada – some spectacular scenery in Travel Alberta.
And who doesn’t love magic? This is an interesting twist on the typical duo in an act.
And another video – this one about kites….which I could NEVER get off the ground! “One kite is controlled by his right leg, the other two by his hands. Ray Bethell, a resident of Vancouver, BC is one of the most famous kite flyers in the world. He controls three kites in a ballet set to “The Flower Duet.” When you see two tails together, he’s flying two of the kites next to each other. At about 3:00, all three are together. Notice at the end where he lays two of the kites down, one on top of the other and the third —-well, you just have to wait to see what he does with that one.”
Here’s a book I need to get, since all things about the brain fascinate me. Found this on the TED blog: Brain Power. Looks absolutely fascinating.
A great fiber art find – love her stamps! “GinaVisione works and plays in San Francisco, CA., a re-transplanted native. Her primary work is focused on maximizing the available rehabilitation service and independence options to all persons with visual impairments and blindness, however, this often spills over into her artwork. She is a printmaker with linoleum carvings and monotype image techniques, but she is also very active in the MailArt (including arti-stamps!) and letter writing networks around the world (SF Correspondence Co-op, Letter Writers Alliance, PostCrossing, to name a few). Gina really enjoys the amazing levels of creativity that artists share in her mailbox daily! Check her out on Flickr: http://www.flickr.com/photos/ginavisione/“
Once again from the 365 Project, some really gorgeous photography.
From Cool Hunting comes the work and an interview with a very interesting artist, Jen Stark – lots of color here!!
And finally, from JPG Magazine, the simple fork……
Have a great week! Let me know what you find on line that’s cool!
What a find on the Textile and Fiber Art List! Meg Black, from Massachusetts, creates paintings from paper. One page on her blog describes this painstaking process, and it is absolutely fascinating. You would think these pieces had been painted from scratch! Her bio indicates she is “one of a handful of painters working in this exciting medium, something of a pioneer, internationally recognized by galleries and collectors. Her focus on nature and the environment yields stunning landscapes, seascapes, New England scenes and garden views.” Just take a look at a couple of her pieces:
This one is so realistic and reminds me of the Atlantic near the New Hampshire shoreline. Now I love lily pads, and I love collections, so this next is absolutely perfect for me:
Meg also does abstracts, and the colors are intriguing.
You also can view a tour of Meg’s studio:
Now the rest of her profile is available for you to peruse. Some amazing eye candy from Meg Black!
When we started marbling, we were hooked from the very first piece. The problem was…what do we do with the fabric? Each piece was so gorgeous it was hard to cut into it. We knew we had to get over that mindset. Folks consistently asked, “What do you do with the fabric? I don’t know how to use it.” Confession time – I wasn’t quite sure either. I saw a book and thought marbled fabric would look cool. Now it was “put up or shut up.”
I was a beginning quilter with virtually no good color sense…that was hubby’s field. I figured black goes with everything, so my first quilt was an attic window pattern.
This was a nice way to show off smaller pieces of marbling, but I had to stretch further. It took a number of years before I stopped being afraid of any color except black. I started a Block of the Month, using blocks from Judy Martin. I became more daring…this time it was not black…..but other solids. I built the designs on the colors in the marbling. My January block had a definite “coolness,” so I looked for solids with some texture that would work. I started to expand design ideas and felt that traditional blocks could be the key to using these fabrics.
Now another confession…..when I first started doing quilting, I was pretty much “stitch in the ditch”….with metallic threads, no less. The quilt above is 12 years old, and I took it apart (oy) and used my newly acquired FMQ skills. I didn’t stitch the marbled blocks, as I wanted them to stand out.
The completed quilt – marbled fabrics within traditional blocks. You can read more about the actual quilting here.
I was hooked on finding some great traditional blocks that could spotlight marbling and go together harmoniousl. Summer……..I had some great neon orange cotton, a nice piece of Moda Marbles, but I needed additional fabrics so the quilt wasn’t overloaded with green. I stretched with the print fabrics I added to complement the marbled fabrics.
There’s lots of machine quilting throughout, but the marbling has been left on its own. (I also took this quilt apart…. kind of obsessive. But as quilters, we KNOW what we want. More about the quilting here).
At this point, I had a great piece of marbled fabric that said “I want to be fish.” I found a traditional block that could be used as fish. Thus the “fish quilt” was born (you can read about that quilting here). This time I quilted the marbled fabric by following the lines of the pattern and used stitches from my workhorse Bernina.
I started getting very bold – it never occurred to me to just quilt the marbled fabric itself. This was a major breakthrough. Traditional is fine, and I still work with traditional patterns, but quilting the marbled pattern gives a completely different look to a quilt. This quilt, “Nature 1: Rock Garden,” became my first quilt accepted into a juried show, “Expressions in Textiles.” It is very zen-like, and the quilting emphasizes the rock garden and sand.
Go traditional or go contemporary. Don’t be afraid of the marbled fabrics. They can be the spark that makes your quilt.
I worked with another photo last night, and I didn’t have nearly the success with adjustments and filters as I did with the first photo. Now I need to think through why that is so. Here’s the new photo – driftwood from Vashon Island in Puget Sound.
Well, crap….seems like I did it again in saving…or not saving. I need to remember to save everything as a psd file first to preserve the layers, and then save each piece individually. Okay, bottom line, nothing really spoke to me with the different adjustments, so I need to think through why that is so.
Is it because this is a fairly abstract image to begin with, mostly line and color? Perhaps that is why I am so fascinated with tree bark to begin with. The lines, shadows, differing colors to create the texture. And this picture, knowing it is driftwood, also reeks of a hidden history after being tossed in the water and then left high and dry. But how would I create some of that mystery?
What initially prompted me to take a picture of this? Probably all the smooth curved lines and the knot.
Looks like all kinds of interesting lichen within all those folds. The colors are so subtle, but at the same time I see a nice interplay of line and shadow.
I look at that knot and see a captured sea spirit. The more I look at this one, the more I am intrigued by it. The curves are so soft amidst all that hardness.
Now that I look at a couple of additional questions, I am stumped. Main idea? I like the thought of a captured sea spirit. Areas worth keeping? I can see leaving out everything else from these two crops. Other elements to add? No clue. But as I ponder, the first thought that comes to mind is to carry the lichen out into a border, and maybe the overall piece doesn’t need to be square or rectangular, maybe more oval so that the spirit seems encased and surrounded but is really still there. Don’t know if that is making sense….
How and where can more pizazz be added? Again, no clue. But…perhaps a lot of thread painting would be needed for surface texture.
I can see this going to sketches as the next step and seeing what develops from there. Comments?
…that could also read “something OF value,” but I want to focus in on the issue of value and color in design….something I know I am really weak on. I’m choosing a couple of pics that I really like for design composition and playing around with Photoshop filters to see what they tell me about the composition. This is different from how I usually approach working with Photoshop….play around until I get something that says Wow. This time I’m looking at the elements of the picture and trying to see how they change and why I like – or don’t like – the design.
Here’s my first photo, taken in Jericho, Vermont two summers ago, at the Old Mill, which houses much of the history of hubby’s family.
I love everything about this picture: the greens, the mill red, the flowing water, the fact that I’ve got it composed in thirds. And you can’t see that right behind me is very busy Route 15. So what did I learn from this exercise?
Primarily I am much more aware of the basic lines in the composition. The lines don’t change, but the focal point does, depending on the filter or effect I used. There is one example that I would consider making up in cloth, as I find it intriguing, and I’ve never tried anything like that. The others are just interesting to analyze. Here goes:
I love black and white. After three weeks in Seattle this spring, I developed a whole new appreciation for shades of gray (no, not the book……). I want to take this photo and play around with a few sections of rock to see what I might be able to sketch.
This is the “sponge” filter, and it’s one I really like. Shadows and subtle colors really come out in this filter. Once again I am amazed at all the shades of green there are. There’s more shading in the mill, as opposed to the original, but the movement of the water is lost.
This is the “find edges” filter. Interesting to see where basic pieces of fabric would be. I think I can also see the dark, medium, and light of the photo.
Accented edges filter. More of a pattern to follow if I wanted to recreate this. I did a small cropping that I could see in a 12 x 12 piece. I’m liking the shadows.
This is the “patchwork” filter, and I could see making this up as a larger wall quilt. The filter allows you to make the squares larger or smaller, but I am really curious to see how this would work up in piecing. I need to print this out larger and use my little red rectangle and look at the values closer.
Well, I have managed to lose my original with all the filters listed on it, so c***. What I like about this above photo is the additional shading that is present in the rocks, and in the red portion of the mill. Lots more texture, and I could see using some colored pencils to enhance the fabric pieces.
I believe this is a watercolor filter, and I like it. I can see looking for specific fabrics for this piece, rather than trying to do lots of little pieces togather. I could see just cutting pattern pieces and fusing them into place. I like the softness.
Palette knife, I think. I like the general clumps of color, and as I reflect on this, I could see making this into a small abstract. The image is still recognizable, and I like how you can see an actual pattern to follow in putting this together.
This is mosaic tiles, and I like the effect better than the patchwork photo above. I’d have to spend some time thinking about how to get the “grout” effect…..maybe a mottled gray color with texture in it as the background piece, and then the tiles cult at somewhat irregular edges so the grout shows through. I cropped a piece to see….
This is an inversion adjustment, and I like these because I always see something different when the colors are completely different. The yellow accents the shape of the edge of the mill in a way you don’t notice in the original photo. The rushing water doesn’t show up at all.
Forgot the adjustment, but the amount of purple really accents the amount of green in the original photo. And I like the way the shapes of the rocks are accented.
This is a red/yellow gradient, and I like playing around with gradients. Very other-worldly, but I don’t see taking this piece any further.
I saw some quilts a while back that were based on Joen Wolfrom’s color tool. People chose a color and then worked solely in the range of that color. Results were pretty dramatic. This is a color filter in a deep blue. I think I would print this out and take it fabric shopping and see just how well I could pick out various blues and other shades that have a blue cast to them.
That’s my first study, and I definitely need to do more of these. I feel like I have a better understanding of the composition of the original picture. Next up, my wrought iron photo….
Busy week! The commission piece (the triptych that wasn’t) is done, awaiting beading. As I was on the floor at yoga last Friday, I was looking at a very skinny part of the wall and thought, this would be perfect for a long piece. On Thursday night I had started the stitching on the lichen, and I absolutely loved the way they worked out, and I no longer wanted to cut the piece into three. This skinny wall section will be perfect. So over the weekend I steamed and blocked the piece, got the binding on and hand-stitched down. Love it! Took it to yoga on Monday to show her, and she is thrilled. The only thing needed at this point is some blue beads along the “stream” to add an additional color and bring the piece together. Formal pictures next week when the beading is done.
Also completed are two new fiber bowls for my gift baskets of marbled fabrics, set to go up in the Etsy store. We’re doing pictures later today so I can get the stuff up in the store. Wrapping clothesline with fabric is the absolutely perfect activity for watching television at night.
And…I am finally starting another major piece that has been brewing for a couple of months. I’ve had the backing since October, and the marbled fabric was done in September. I finally got the batting two weeks ago, and today I made the sandwich, chose thread, and started the quilting. It’s sort of a whole cloth, but not really. There’s no piecing at this point until this center medallion is done, and then I’ll just kind of see what happens. This seems to be the way I work….intuitively, guessing along the way, trial and error. Most of the time it works.
Here’s the first focus fabric….very “brain-looking,” and I’m approaching it as though these were dendrites in the brain. Doing a thread check –
– going for the one on the top, as I like the black section in the thread…looks like the nerve endings are skipping, which is the look I want. The lower thread will be in the bobbin.
I started the stitching, and then I took everything out – not happy with tension, and I wanted to analyze the pattern yet again.
This picture, when I saw it through the view screen of the camera, made me somewhat upset. I couldn’t see the discrimination of the black and the blue through my own eyes. I am having to look at it through a photo, so I know where I want to stitch. THis is the first time that I am aware of my eyes not being true to what I am seeing and want to do. Doesn’t make me happy…..
So I took my own advice from the Monday Marketing post to just get in there and do the work…I did, and I have a lot to show for it, with more to come.