Sunday, June 28, 2020

Thursday, June 25, 2020

TextileArtist.orgStitchClub

Week 4 - Emily Tull U.K.

“Getting Lippy”
The challenge is about observation and how to find the best preparation image of our work

Emily says "the brain automatically helps us simplify images into symbols. For example if we are asked to draw an eye we'll first draw an oval or almond shape. When a child draws a house they use squares, triangles and rectangles to form the basic shape."
The challenge is to create 3 mouths with different expressions using hand stitch. This is not about filling in the mouth with colour, the idea is to look at the finer details and use minimal stitching to create an expression.
I have decided to only do the one image of my mouth. Time wise, I don't have it to stitch 2 more.
When finished I felt it was anemic looking so decided to shade in the lips with an apricot coloured pencil as I often wear an autumn tone lipstick.

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I have written this post using the new blogger settings that come into play at the end of the month. 
Not sure if it is something I will use instead, but had to give it a try. It seems easy enough.

Friday, June 12, 2020

Wednesday, June 10, 2020

TextileArtist.orgStitchClub

Week 3 - Susie Vickery Australia

"Create Beauty from Trash"
Susie says" When I go to the supermarket I try to avoid buying food that comes in plastic packaging. And increasingly, I find myself choosing foods that have potentially stitchable packaging".

Our workshop task was to create an embroidered sampler from detritus, to stitch floral patterns inspired by the tree of life in Jacobean Crewel work.
My colours were governed by a red mesh onion bag, white plastic and muffin bags. These were thin enough to thread the needle and go through the fabric. As we rarely use plastic bags for rubbish, I had to search through the garage for the white bag.
Our workshop pattern was set, you could do any design, I decided to follow the instructions.
End of mesh bag left to become the head of the flower.
Use of plastic replicates traditional ribbon and raffia embroidery. 
Susie has found that plastic is malleable, with a lot of body, which makes it ideal for quickly covering large areas with textured embroidery. it is also easy to stitch into with thread, giving it great depth and interest.
Blue curl made using the muffin bag which was cut into 1/2 inch strips.
My final piece. I enjoyed this workshop with Susie. The method is open to many ideas, just have to remember not to iron the finished piece.....

Sunday, June 7, 2020

Colbinabbin Painted Silos

Our drive last week took us to the small town of Colbinabbin, 140 km north of Melbourne.
We drove through Romsey and Lancefield where the landscape at Tooborac is covered with various sizes and shapes of granite boulders. 

THE SIGNIFICANCE OF THE RAILWAY THE COLBINABBIN DISTRICT:
Painted over 8 weeks during COVID-19 March-April 2020
Artist Tim Bolwell
Station Street, Colbinabbin
The original German settlers established farms along the Mount Camel Range, (the top of the hill to the west of our township) and built a school, a post office and a community hall to serve their families.
This silo, 1900's for the famous Colbo picnic that happened on the hill. They used to have about 2,000 people catching trains up and walking to the picnic grounds.
In August 1881 a Colbinabbin Railway League consisting of farmers agitated for a railway line to enable the transportation of produce and livestock to Melbourne, in 1913 construction of the line was completed.
It extended from Rushworth to Colbinabbin West of the Cornella Creek costing $42,970 for the 121⁄2 miles of track. It took sixty men to build 1 mile of railway line per week. The line was then extended to the current site of the silos.
The Colbinabbin West community realised that it would be impossible to run the train tracks up and over the hill to the town, so it was decided to establish the township in a more suitable location down on the plain, to be known as Colbinabbin East. Thus, Colbinabbin Village settlement was established in 1893 and by 1913 a bustling township. This is the present site of the township.
The tractor pull from about the 1980's where the town expected 3,000 people but got 22,000 people.
A 1947 CFA Austin firetruck. 
The first trucks of grain left Colbinabbin Railway Station in February 1914.

After leaving the silos we headed to Bendigo, an hours drive, for lunch by the lake.
Passing through Goonong, saw this silo. An engineering feat to get the car up there!!

Thursday, June 4, 2020

TextileArtist.orgStitchClub

Week 2 - Merill Comeau USA
Merill says "I'd like you to create a textile piece that represents something unique and personal about you by using imagery from nature, salvaged fabrics and a variety of stitch marks to convey your story".

I sorted through what little fabrics I still have and came up with a stash of sorts. Merrill's process of a background is one of organic and rough "building blocks" on a background fabric (no straight cutting) using recycled items and fabric scraps.
It was suggested we use petticoat tulle or similar as the background stabiliser. I didn't have any so a quick trip to Spotlight found some very soft beige tulle, bargain, 20 cm for 70 cents!!! I laughed as I thought the petrol cost more to drive there than the tulle.

"Use your thread mark-making to reinforce the concepts behind your work eg. irregularly spaced stitched in a variety of colours might represent flecks of dirt. Experiment with varying levels of formality and informality, control and lack of control".
9" x 11"
I researched several flora and their meanings with nothing describing the way I am feeling at the moment. Thinking of happy experiences and always at the top of the list is Japan. Unfortunately our return flights in November will not go ahead.

As I enjoyed this process very much, decided to do a smaller 2nd piece. At the moment my mum's purple bearded iris are flowering among my burgundy Salvia plant. Though rather early for the season, it is at this time of my life that I wish I still had her to talk to.
7" x 8"
I like the idea of the edges and pieces are not straight in line. Merill suggests that threads and fraying are left hanging for the root system of the plant.

Tuesday, June 2, 2020

TextileArtist.org Challenge 1

Re-stitched 9 x 3 inch squares for Challenge 1 Sue Stone.
Straight stitches on linen using variegated threads.




Made another book to house these sample squares.

Stitch Meditations