backstage textiles
BDS2pds
needlework textiles in the vault at the Dewitt Museum here at Colonial
Williamsburg. The curator is taking interesting people in. I could hardly
sleep last night! What fun !
Mirjam Bruck-Cohen
mirjam
Cheryl Isaak
"BDS2pds" <bds...@aol.com> wrote:
Lucky girl!
Cheryl
Felice Friese
"BDS2pds" <bds...@aol.com> wrote in message
news:20040407064616...@mb-m01.aol.com...
Oooooh! Can't wait to hear all about them!
Felice
lula
collection of stitched antique textiles up close! It's awesome to do
so.
I had a similar experience in several different places.....the most
memorable was getting to look up close and even touching several
embroidered and also Florentine stitched embroideries or better known as
bargello patterns.....these pieces were "pockets", similar to modern day
purse wallets to hold valuables, like documents and money.
Also, got to see embroidered petticoats, samplers and some other small
needleworked articles.....saw these at Stephen Huber's gallery, the
experts on American Schoolgirl needleworks.
---
Lula
http://www.woolydream.com
Needlework Adventures
BDS2pds
described but nothing as great as the exhibit they had on . They
opened the safe drawers and we saw how they embroidered the initials on slips
so you get your own undies back from the laundress! that was interesting but of
course cross stitched and not fancy. They opened 4 other vault drawers to
exhibit samplers and bargello work. Most from the 1700 period. The work was
not as fine as what we do now in my opinion. But of course they had limited
light!!! These may be old but they were not done all that well. Surprisingly
one was from Germany and not early America so it likely came in a trunk with
someone. All in all, not as fine of work as what I am seeing Abby Aldrich
collected.
BDS2pds
of Clothing opened at the DeWitt Wallace Museum.
It was indeed fabulous and the curator who developed it right on...
lula
to see but at least the exhibit was worth the visit!
On my trip to the Huber's American School Girl Needleworks Gallery,
also remember saying to myself that the stitchery on some of the pieces
were not as neat as today's samples.
You're right about the bad lighting......it's amazing to think how hard
it must have been to stitch back then if they wanted to continue to do
so once daylight waned or on overcast days.
My eyes would have gone "cross eyed" pretty quickly if I had to stitch
under candlelight because light from candles also flickers unevenly,
unlike the steady bright light of today's electrical bulbs.
The other thing that amazes me is how one seamstress was able to "sew"
one of those voluminous gowns! It would take me forever to stitch
together such a dress, never mind embroidering any part of it!
I realize there were professional embroiderers and dressmakers with
staff but I'm writing of the women who might have made their own dresses
or the independent seamstress.....a poorer woman, perhaps a widow for
example who had to earn her living.
---
Lula
http://www.woolydream.com
Needlework Adventures
Alison
wrote:
<snip>
>The other thing that amazes me is how one seamstress was able to "sew"
>one of those voluminous gowns! It would take me forever to stitch
>together such a dress, never mind embroidering any part of it!
>I realize there were professional embroiderers and dressmakers with
>staff but I'm writing of the women who might have made their own dresses
>or the independent seamstress.....a poorer woman, perhaps a widow for
>example who had to earn her living.
>---
>Lula
>http://www.woolydream.com
>Needlework Adventures
>
expert showed how it closed down the front - great design to wear
later when nursing a baby. Also it had been let out to wear as the
bride gained a bit of weight. My point - yes it was a lot of work but
the dress was expected to last a long part of the wearer's life.
Alison
Susan Hartman/Dirty Linen
>
> The other thing that amazes me is how one seamstress was able to "sew"
> one of those voluminous gowns! It would take me forever to stitch
> together such a dress, never mind embroidering any part of it!
A surprising thing I learned at the show in Williamsburg was that the
gowns were sewn together with HUGE basting stitches, because they had to
be discombobulated for each laundering. So while we'd sew them in fine,
little stitches and send them out for dry-cleaning, colonial women had
them stitched with fewer than 6 stitches per inch - just a big running
stitch - so that they could be taken apart with one snip and the thread
yanked out. And also they'd have to go try on the gowns after each
laundering and re-stitching, so there were plenty of opportunities to
adjust the seams allowances or remake the style altogether.
Sue
BDS2pds
It is gone now unfortunately but it was very interesting. They are doing an
exhibit on maps next and that does not start until May.
FKBABB
one of those voluminous gowns! It would take me forever to stitch
together such a dress, never mind embroidering any part of it!
I realize there were professional embroiderers and dressmakers with
staff but I'm writing of the women who might have made their own dresses
or the independent seamstress.....a poorer woman, perhaps a widow for
example who had to earn her living.
---
Lula
http://www.woolydream.com
Needlework Adventures
Lula, this might have been one of the reasons our forewomen had so few clothes
compared to what we have today. I remember reading in the materials for the
PBS series "The 1900 House" that even middle class women of the period
typically owned only three complete changes of clothing. And, if you go
farther back, to the American Colonial period, we're talking about a situation
where women who wanted a new dress not only had to sew it themselves, but very
likely had to spin the thread for it and weave the cloth themselves. Gives one
pause when one looks in one's bulging closet today and declare's "I have
nothing to wear!"
Annie
lula
frontier settler women most likely having to spin and weave the cloth
their dresses were made from!
Makes my head spin to think of what they had to do in order to acquire a
new garment!
I had also been wondering about the "basting" or low number of stitches
used for sewing some of these dresses, I had noticed similar stitching
in past costume displays in the Metropolitan Museum of Art.....recall
being a little surprised the stitches weren't very fine
looking......thought it was limited to the examples I was looking at.
Susan and Alison's posts have added to my knowledge about early hand
made clothing.
The sewing machine was invented sometime during the industrial
revolution but not every women had access to one. Many would still be
dependent on an "army" of dressmakers or seamstresses.....so again, my
mind boggles when I read stories about the custom of the wealthy
changing suits, dresses for social occasions, naturally the burden
falling on women having to dress for dinner, tea, morning or day
dresses, etc........a massive wardrobe of required clothing!
---
Lula
http://www.woolydream.com
Needlework Adventures
FKBABB
IIRC, workable ones were available after the Civil War (U.S.). Interestingly,
the Industrial Revolution actually started with cloth, the spinning jenny and
power looms being the first applications of the new steam power. These in turn
made "fine" fabrics, i.e., the kinds of muslins and calicos we use in quilting
today, inexpensive and available on a mass market basis. Somewhere around 1850
another revolution in the average woman's clothing occured: the invention of
the paper pattern by the McCall's company (yes, the same one still publishing
patterns today), enabling the woman who sewed for herself and her family to
achieve the same fashion silhouettes as the rich city ladies who wore clothes
imported from Paris. This made an enormous change in the way American women
dressed. I'm now wondering, to bring this back to needlework, if the paper
pattern influenced the development of the crazy quilt, which began to appear
about the same time. Most traditional clothing in any culture I've looked at
is constructed of rectangles, using pretty much the whole cloth; you just don't
get oddly shaped pieces or much in the way of scraps, period. With paper
patterns you get curved and other oddly shaped bits, so perhaps the crazy quilt
developed as a way to use these up? ? ? ?
Annie
BDS2pds
Meredith
Meredith
Jan Lennie
Jan
"FKBABB" <fkb...@aol.com> wrote in message
news:20040410051748...@mb-m02.aol.com...
Debra
I saw that dress too. It was interesting. IIRC it had detached
sleeves so it could be worn both summer and winter.
Debra in VA
BDS2pds
lula
been proved to be the one reason why.......
One of the theories was the crazy quilt came at a time when all things
Japanese were extremely popular.........among the most popular Japanese
collectible were the colorful ceramics.
Some of this pottery was made with a crackled glaze known as a "crazed"
finish......the little irregular lines in the pottery resembled the
patterning of crazy quilting.
Japanese art influence basically began with the1862 exhibition of a
huge collection of Japanese art at the International Exposition in
London and continued on to the Centennial Exposition in Philadelphia in
1872......Japanese art forms became the rage with its sinuous, graceful
curvy lines and asymmetrical design elements.....straight edges were no
longer popular.....furniture and all forms of artisitc objects became
more curved, colorful and asymmetric looking. Art Nouveau's roots
developed from this craze for all things Japanese.
About patterns used for crazy quilting........from my reading, there
doesn't appear to be any particular patterns for this form of quilting
as the point of a crazy quilt was to combine whatever odd shapes of
fabrics usually, silks, velvets and other fancy fabrics to create a
block......these blocks could be foundation pieced together.
The women's magazines were instrumental in publishing articles on home
decoration and spread the influence of Japanese art to everyday life.
They published instructions on how to piece crazy quilt blocks together
and other variations......there were many instructions for embroidery
patterns and other ways of applying decorations to the crazy quilt
patches.
The main interest of many crazy quilts was based on friendship as the
brilliant colored "scraps" of silks, cigarette silks and other cloth
advertising premiums with pretty pictures printed were traded among
friends to embroider in whatever way to express their feelings for one
another, to decorate their crazy quilt masterpieces.
Fancy fabrics such as silks were collected from as many sources as
possible......it became a contest of sorts among quilters to collect as
many pieces of silks as possible by crook if necessary......in this,
some women resorted to presenting themselves as fabric shopowners to
acquire free sample books.......the manufacturers caught on and began to
charge a premium price or upfront cash advance for sample books.....it
was known that many family members' silk ties or other fine garments
disappeared or had pieces of cloth cut out of the garments!
Manufacturers realizing there was profit to be made from silk scraps
from cutting floors, packaged up silk scraps to sell to the public for
crazy quilting also known as "fancywork"
It was an amazing period when these quilts were made but the "craze"
didn't last that long......the height of the crazy quilt decoration
craze was about the 1880's and lasted to about 1910......after this,
interest for crazy quilts began to decline and became old fashioned and
weird looking to the next generation........the flappers of the 20's
never even looked at a crazy quilt, consigning these odd looking
embroidered, overdone embellished quilts to their grandmother's time!
Many of us once again appreciate and admire this form of embroidered art
needlework that has survived intact.
To our eyes, seeing a fine example of crazy quilting is quite awesome in
the brilliance of the colors used and combined, the the variety of
embellishing stitches, the details of embroidered images.....all
considered to be in an artistic style once again.
---
Lula
http://www.woolydream.com
Needlework Adventures
Joan Erickson
> There are a few stories on the origins of the crazy quilt but none have
> been proved to be the one reason why.......
>
> One of the theories was the crazy quilt came at a time when all things
> Japanese were extremely popular.........
Thanks for another very interesting post on textile history, Lula! I
always enjoy your informative posts!
--
Joan
See my first-ever design here:
http://www.heritageshoppe.com/joan.jpg
"Stitch when you are young and poor, frame when you are old and rich."
- Elizabeth's (rctn'r) sister's MIL (Barbara Marr)
lula
enjoy reading my comments.
FKBABB
Japanese were extremely popular.........among the most popular Japanese
collectible were the colorful ceramics.
Some of this pottery was made with a crackled glaze known as a "crazed"
finish......the little irregular lines in the pottery resembled the
patterning of crazy quilting.
Japanese art influence basically began with the1862 exhibition of a
huge collection of Japanese art at the International Exposition in
London and continued on to the Centennial Exposition in Philadelphia in
1872......
developed from this craze for all things Japanese.
>><BR><BR>
I like this theory, particularly for the silk/brocade/velvet type crazy quilts
with ornamental stitching. I would think Japanese Imari ware would also have
been an inspiration since this type of pottery justaposes lots of bright
patterns often in irregular shapes.
However, the notion of a crazy quilt was already in the culture before the big
Japanese exhibitions. I checked my copy of "American Pieced Quilts," a catalog
of a 1972 Smithsonian Exhibition that was one of the first to showcase quilts
as high art. It includes a couple of crazies, albeit made from cottons and
without sitching, dated 1860.
Annie
Mirjam Bruck-Cohen
to Europe after their Holy land `adventure ` since piecing parts of
cloth was common to this parts
mirjam
Dr. Brat
> There are a few stories on the origins of the crazy quilt but none have
> been proved to be the one reason why.......
What a great post, Lula! Thank you!
Elizabeth
--
*~*~*~*~*~*~*~*~*~*~living well is the best revenge~*~*~*~*~*~*~*~*~*
The most important thing one woman can do for another is to illuminate
and expand her sense of actual possibilities. --Adrienne Rich
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Dianne Lewandowski
during the later Victorian era. I have this book entitled "Fancywork"
from 1911 and I know that many of the drawings and articles are pilfered
(plagerized?) from earlier magazines and books at least dating back to 1870.
Very interesting post. Thanks so much for adding more to our knowledge!
Dianne
Olwynmary
>during the later Victorian era.
Ahem. My understanding was always that "fancywork" was what you could do in
the drawing room, or take with you on visits, as opposed to "plain sewing" such
as making clothes, hemming sheets, shirts or handkerchiefs, or mending.
Remember, I grew up in the north of England, and in my childhood it was still
normal for women to take along their knitting, crochet or embroidery when going
to visit, because "A lady does not sit with idle hands."
Olwyn Mary in New Orleans.
lula
years to the time period I mention in my post.....in truth, I don't
think anyone really knows the exact time of or even the origin of this
form of needlework or quilting.
I see Mirjam's post mention crazy quilting being known during the time
of the Crusades which I don't doubt.
Basically, nothing is new under the sun and it's no surprise if there
are forms of "crazy quilting" in other parts of the world and cultures.
The interesting thing is how far reaching trade routes and exposure can
cause changes in traditional daily life as well as inspire newer ways to
do things......there are probably even spontaneous changes cropping up
among various peoples with the discovery of for example stitching
techniques.
We've all noticed the many similarities of stitches used around the
world.
I should have made more clear what I was writing and that was to say the
main craze for crazy quilting picked up and became extremely popular
during the period of 1880 to 1910 after the large international Japanese
exhibits that influenced all facets of western design work.....it wasn't
my intention to imply this was the only period of crazy quilting.
The Japanese influence was in the use of color and design....the
embroidery patterns, embellishment became very popular after this
exposure to Japanese art.
My info is based on reading the volume Crazy Quilts by Penny McMorris, a
highly recommended source book as well as a many other quilt history
books.
---
Lula
http://www.woolydream.com
Needlework Adventures
lula
where ladies would do needlework visiting each other's homes.....a
ladylike way to spend an afternoon and even more so if single young
gentlemen were present.
It was a very charming scene for one to be stitching fancywork....this
made a young lady (who's main purpose in life back then was to "catch" a
rich husband) look ever so genteel, sweet, as well as domestically
inclined.......making her a good catch!
Plus the young man might untangle her embroidery silks giving him a
chance for "private" conversation and an excuse to sit "close" to his
heart's desire.....we all know how such a scenario can work.....
Leave it to the Americans to adopt the term "fancywork" to mean any type
of stitchery that could be done with company, especially mixed
company.... as well as to differentiate from drudgework, the required
household sewing and mending as you've also noted......hahaha, don't
think anyone wanted to be seen "publicly" adding a monogram to a pair of
drawers.....an unmentionable!!
---
Lula
http://www.woolydream.com
Needlework Adventures
lula
Cheryl Isaak
"Olwynmary" <olwy...@aol.com> wrote:
I drive my hubby crazy because I always have a project with me!
Cheryl
anne
> where ladies would do needlework visiting each other's homes.....
In the thread about the museum exhibit, it was mentioned that some of the
needlework wasn't as good as that being done today or words to that effect. I
meant to comment then but forgot so I'll do it now: [caveat -- I am not, nor
have I ever been a historian, just an avid reader]
In days of yore, ladies (aka landed gentry) exhibited their artistic skills
(needlework, painting, music) as signs of their gentility. It's my contention
that the aesthetic quality varied greatly and were dependent on the
talent/skill level of the practioner. IMNSHO, the value of pieces that have
been preserved is to give us a glimpse in to the time in which they were
created.
--
another Anne, add ingers to frugalf to reply
Dianne Lewandowski
I'll give you a rundown, off the top of my head includes hanging devices
for storing handkerchiefs, hair, pen wipes . . . <grin>
Dianne
Dianne Lewandowski
ribbon embroidery which they included under "raised" work.
Dianne
lula
thought about the quality of the needlework.....always assumed it was
good based from my own perspective.
It makes a lot of sense because much needlework was being done more to
"show" as a put-on job, an act by the young woman to look "genteel" to
impress the young men.........we can be sure and know there were young
women who hated needlework because it was a requirement in their
society.....needlework had to be done and a part of their lives, a real
chore!
There have been samplers found with "defiant" messages about not liking
to stitch!
---
Lula
http://www.woolydream.com
Needlework Adventures
georg
> I read that crazy quilt was brought with the Crusades that came back
> to Europe after their Holy land `adventure ` since piecing parts of
> cloth was common to this parts
> mirjam
Unfortunately, the only quilting that I have seen documentation for
during the times of the Crusades is wholecloth. This was done for
petticoats, under the armor padded cothing, and tapestries (the latter
of which told stories- I plan to make one of these sometime soon).
If anyone has sources for patchwork before 1600 *anywhere*, I'd LOVE to
see them. ISBNs are fine.
I have seen crazy quilts as early as 1820s. My gram had one from the
1860s (with velvet and lots of embroidery).
-georg
Mirjam Bruck-Cohen
was rare even in Europe and almost non exitant outside Europe ,
Thus researcerches have to rely on stories forwarded in travelers logs
, in folk stories and of course on the few remnnants found in
archeological places, For long time archelogist being mainly men,
where not even inrterested in the cloth they found ,, thus while you
have a Stone and a bronze age ,, you don`t have a cloth or baskets age
mirjam
lula
lack of a "cloth or basket age"!
It's possible in the early days of this male dominant field where each
"archeologist" ran each dig his own way, there was probably less
interest in shreds of cloth and basketry.....they were into looking for
more "important" finds than domestic "trash".
Going back to the idea of patchwork and quilting......I know the Chinese
were making padded clothing and quilting fabric or some other material
"sandwiches" together from long ago and it would seem likely, the poorer
people would patch together pieces of whatever cloth they could get for
warmth as well as repairing old padded clothing or blankets with odd
patches.....not too hard to make the jump for some enterprisng artistic
person might have made something "pretty" for a utilitarian purpose by
varying patches and embroidering stitches.
Speaking of old needlework.....at my local B&N, I saw what looked to be
a recently published book about the History of the Bayeux Tapestry.
It looked like a pretty good book with many pictures and up to date info
on this famous embroidered panel. Being in a rush, I didn't get a chance
to look more in depth at the book.
This tapestry is probably one of the oldest pieces of western needlework
to come down intact through the ages. I wonder whoever the embroiderers
were, did these stitchers record through with stitches, the details,
types of clothing or any other daily life images of the time the
tapestry was made? Maybe there's a quilted cover on a sleeping platform?
A "quilted" padded jacket worn by a soldier?
Now I'm curious and will go take another look at this new volume.
---
Lula
http://www.woolydream.com
Needlework Adventures
Mirjam Bruck-Cohen
Digging site , has this sad story , When they found the Finger sock ,
Professor Jigaal Yadin , looked around , saw Abigail , Threw it into
her arms and said : "You are a woman , you work that out". Abigail who
was of the generation that went to the university and didn`t want to
know any `female crafts` , had to get her Mother`s help , but she
worked it out that the sock was done in naaldbinding. Later Abigail
was the Archeologist who solved the mystery of the soft pottery
`doughnut shaped` Loom weights , by doing what no man archeologist
did !!! she built a loom and Wove with the weights ,, by this prooving
they were what other archeologists only assumed !!!
>Your post gave me a good laugh Mirjam.....you're quite right about the
>lack of a "cloth or basket age"!
their livelihoods in baskets ,ages ago before iron and bronze were
found .... why not name an age for it ???
>"archeologist" ran each dig his own way, there was probably less
and monks , who weren`t in interested in any thing they could not make
a relic of .
>Going back to the idea of patchwork and quilting......I know the Chinese
>were making padded clothing and quilting fabric or some other material
One has to remember that before the `ndustrial age`, hand weaving was
tedious , and people were not going to throw out any Morsel of woven
cloth .they used it to the last fiber .
mirjam
Marjorie Holme
fascinating book by Jan Messent on the missing section. She has designed
a "possible" ending for the tapestry. Here is a great site where you
can view the whole thing: http://www.madeira.co.uk/bayeux.html
I've read several books on it, both of Messent's hand-written books
(hard going for my aged eyes) and another more "scholarly" book (that I
felt was full of bunk. Marjorie
lula
I have the Bayeux Tapestry book by Jan Messent you mention along with
Wool Magic and Jan Messent's World of Embroidery.....the embroidery book
is full of inspiring ideas!!!
I enjoy reading Jan's books filled with wonderful ideas and approach
towards creativity.
You're quite right about the handwritten text used in the tapestry book
being difficult to read! That's why I haven't read through the whole
book despite having it for several years now!!
Unfortunately, I've misplaced the Bayeux Tapestry someplace on the
bookshelves so can't look up any info yet.
However, I've placed an order to amazon for the other recent Bayeux
Tapestry book and looking forward to checking out the details as well as
reading more comment and opinions about this tapestry.
While looking through the quilt book section, I came across a new book
by the Japanese quilt artist - designer Kumiko Sudo.....you may have
seen her designs in books.
I discovered Sudo's designs and fabric techniques a couple of years ago
and became a "fan" of the beautiful designs for quilts and other
traditional Japanese fabric crafts such as those highly decorative and
useful small bags with handmade dolls that Sudo makes and adds to many
of her bags as charming decorations.
Sudo is a master of color combinations.....it's a pleasure to just to
look through her quilt publications for inspiration......she's very well
known for introducing fabric folding techniques and using her clever
techniques to create fabric flowers adding another dimension to her
quilts. Sudo's newest design and technique book is due for release in a
few weeks when amazon will ship both new books.
A very nice box of hand dyed pearl cotton #8 from South Africa arrived
in the mail today.
I ordered the #8 pearl cotton just for the purpose of using this weight
of thread for embroidery on the heavyweight piece of linen I plan to
use.
Will see how much I like embroidering with hand dyed threads.....will
probably break up some of the design areas with solid pearl cotton
http://www.aflembroidery.com
Too bad I won't be able to "play" with the 100+ colors as I have too
many deadlines getting ready for the NYC design show in a few too short
weeks......immediately after this show will be another marathon design &
painting session getting ready for the needlework trade show in June!
Not much time for embroidering my fun piece yet but in the meantime,
I've been collecting those small packets of beads that come with a
mixture of different shapes, sizes in variations of one main color
.......I'm up to 18 colors so far. I'm really looking forward to
embellishing my planned embroidery with a collection of these beads and
other "found" goodies.
My other creative goodies was getting two new packages of computer
inkjet fabric sheets.....both packs are from June Tailor.
There are three 8.5 x 11 sheets per package.....fairly pricey at $12.99
per package......I got a good deal using the 50% off JoAnn's Fabrics
coupons. http://www.junetailor.com
It's going to be a real interesting experience transferring my artwork
to these inkjet fabric sheets since this will be my first time using
this "new" to me technology.
I've got lots of ideas that I'm anxious to try out......I can make
multiple repeat images.......can print a variety of small motifs or use
a large single image.......the exciting part is I'll be able to
embellish my original art with stitches and adding bead and other
colorful embellishments!!
---
Lula
http://www.woolydream.com
Needlework Adventures
<mho...@uchicago.edu> Marjorie Holme wrote:
>
> Hi, Lula: actually the Bayeux tapestry isn't complete---there's a
> fascinating book by Jan Messent on the missing section. She has designed
> a "possible" ending for the tapestry. Here is a great site where you
> can view the whole thing: http://www.madeira.co.uk/bayeux.html
>
> I've read several books on it, both of Messent's hand-written books
> (hard going for my aged eyes) and another more "scholarly" book (that I
> felt was full of bunk. Marjorie
>
> lula wrote:
> >
> > Your post gave me a good laugh Mirjam.....you're quite right about the
> > lack of a "cloth or basket age"!
> >
> > It's possible in the early days of this male dominant field where each
> > "archaeologist" ran each dig his own way, there was probably less
Marjorie Holme
thus far have resisted owning it. It is lovely.
I mentioned recently the fused quilting workshop that I took with Laura
Wasilowski. Laura began as a dyer and has wonderful hand dyed perle
cottons in sizes 3, 5, 8 and 12. They're great for stitching on the
quilts and some coordinate with her hand dyed fabrics.
www.artfabrik.com.
This weekend I took a workshop through my EGA chapter with Lynn Payette.
Talk about an eye-opener! Lynn has a background in painting and costume
design and is a professional needleworker and needlework teacher (she
does it more than full time---this is one busy lady!)
Our workshop (and I don't know of a picture online other than the little
one here (it won't enlarge)...http://www.surfnetinc.com/NANI/New.htm and
the picture isn't accurate, really. She specifically made changes on the
computer so we could use it in class to see some stitches.
Anyway, the Peony class is a study in shadow and using shadow to create
the impression of three-dimensionality. All of a sudden I'm aware of
shadows as never before--they're everywhere and they're rarely the color
you expect and are often a lot darker than you think until you really
look. I love it when an event or a class changes my perceptions like
that! Even after the intensity fades, the awareness stays in the
background.
We used ombre ribbons and sheer fabrics on congress canvas to develop
the basis of our peony petals and leaves. Very unusual materials and
techniques. I have a really bad cold and my brain is mush but I feel all
these little incipient ideas fluttering around waiting for me to wake
up!
(an aside: I'm drinking a soothing cup of tea made with bits of a really
black dried lemon one of my student fellows from Israel brought to me
once he learned I had a bad cold. It seemed strange to put this hard,
dry, black thing into my tea but one try and I'm hooked (happily, he was
quite generous!). He also brought me the most wonderful dried figs--much
nicer than those I can find here. I have no idea what these lemons
are---he had a name for them but as I said the brain is mush (Mirjam--do
you know anything about these lemons?). But if you ever see them, try
one! )
It seems to me it is often the case that I find the most wonderful new
material, technique, etc. and I am buried in deadlines or work and can't
get to it. At a recent quilt show I got some fabric dye paints and rayon
trimmings to paint and I got about 6" done (and, oh, it is sooo much
fun! and I have ideas!!) and I had to stop and haven't gotten back to
it.
I recently used the June Tailor sheets and they worked wonderfully. My
mother died suddenly at the beginning of the month and that first night,
of course, we weren't sleeping well. At about 4am I woke up (and I am
NOT a morning person) with this compelling idea and I began a small art
quilt. I was still imbued with ideas from Laura's class and I got the
quilt set up and well under way by the time Steve was up. I went into
work for a bit to organize for being away and on the way I ran into
Michaels and picked up some of the June Tailor sheets. (I didn't think
I'd have time or energy to find the high-count muslin I have and treat
it with bubble jet---the purchased sheets were much easier!) I had some
photos on the computer from family reunions and I gathered a bunch
(opened them in text boxes in a word document so I could fit a bunch on
one page) I printed them at work but my printer at home is much nicer
so I reprinted them at home. Added fusible to the back and ironed them
onto my quilt. I added some hand stitches throughout that evening and
the next day. I found I kept putting it down and picking it up---the
perfect futzing-busy work to keep me together while calling family and
waiting for replies, packing to head out to mom's town, etc. It was
incredibly healing for me--a perfect outlet.
Be sure to let us know when the results of your fabric printing
experiments are available on your website! Marjorie
Bungadora
I'm enjoying my little excursion into hand dyed threads as well. I've been
making velvet pansies on silk this week. (buttonhole around the edge of the
velvet, and a few straight stitches at the centre). It's addictive. I was
making little jewelry bags, but think I will make a pillow. I'll probably never
want to make another pansy again afterwards.
The Sudo book sounds very interesting. I will keep my eyes open for it.
I have my hands full with my crazy quilt beginner's project at present - I'm
making a needlecase. Now this is where my cheap side comes out. I need to make
bedroom curtains and have been unable to decide on the fabric. So I have been
travelling around to fabric stores, getting fabric swatches, taking them home
and saying "Nope. Not the right one." I was quite gleeful to find that the
fabric swatches were just the right size for a small project. Including the
$100 a meter silk swatch that I got just to fondle. Too bad I put it in such a
bad corner. That wasn't what I had in mind when I picked them up, but now I
have evil ideas. I wonder how many other crazy quilters are drive by snippers?
Dora
Mirjam Bruck-Cohen
leftover snippets , i think,ever since i had a needle in my hands,
I thnk iwas about 8 when i was taught to repair torn clothes with `a
nice matching patch` and ever since than i used torn and cut up
clothes as well as leftover snippets, to make useful as well as
creative and decorative works.
many creative years with this ever new ever changeable technique.
Every piece of cloth , every thread may , if you `listen` to them
guide you to new experiences ,
mirjam
BDS2pds
tailoring inside as well -- Easter was coming and I read the Velveteen Rabbit
to the kids and could not stand it as I could not find brown velvet that nice
again so ripped it all up after only wearing the suit twice and made rabbits
from it ! No regrets though as the suit would have gone out of style long ago
but the rabbits are still here !
Bungadora
Thank you Mirjam. It's a good technique for me to pick up, because I'm a bit of
a packrat, and have old clothing (including a dress from when I was 12!),
fabric samples, and sewing scraps tucked away in many corners of my home. My
velvet pansies on silk are cut from an old blazer I used to wear about 20 years
ago. I have enough velvet there to keep me going for a while I think.
Dora
Bungadora
Marjorie Holme
Marjorie
Bungadora
lay them out, secure them with iron on fusing, and buttonhole all the edges.
Then the straight stitches are used to fill in a contrasting centre. I have two
shades of purple velvet to work with. I haven't seen any gold velvet recently,
but I would like to try that as well.
I haven't considered padding them. There's no reason why not, although I
imagine it would test my manual dexterity severely. The velvet is also fairly
heavy as is in comparison to the background fabric (silk). I am reinforcing the
back of the silk with muslin, but I don't know. Would a very heavy applique
pull on the background fabric over time?
Dora
>Marjorie Holme mho...@uchicago.edu
go.edu>
Dianne Lewandowski
> Would a very heavy applique
> pull on the background fabric over time?
Are you stitching through both the muslin and the silk ground? That
should be sufficiently strong to hold padded appliques. However, that
would also depend upon the weight of the silk.
I have some beautiful silk here that I eventually want to get to. Only
problem is, I bought it when I was in my children's sewing mood, and now
that I no longer have children, I'm trying to figure out what to do with
this lucious pink. Perhaps a shawl collar for a robe? I just don't
know . . . therefore it sits in a drawer. :-)
Dianne
Bungadora
>
>Bungadora wrote:
>> Would a very heavy applique
>> pull on the background fabric over time?
>
>should be sufficiently strong to hold padded appliques. However, that
>would also depend upon the weight of the silk.
>
store. Opaque, fairly firmly woven, but not really what I would call a heavy
fabric.
>I have some beautiful silk here that I eventually want to get to. Only
>problem is, I bought it when I was in my children's sewing mood, and now
>that I no longer have children, I'm trying to figure out what to do with
>this lucious pink.
I like pink, but a little bit goes a long way.
Dora
Who has to go to work now.8(
Dianne Lewandowski
one - maybe Mary Thomas - been doing a lot of reading lately), which
author cautioned to firmly baste both layers of fabric like a grid so
that the upper fabric doesn't shift and cause pulling later. May be
too late for you, but I remember doing a piece with a muslin backing and
there was considerable puckering of the muslin after the embroidery.
The top was fine, so I didn't pay it much attention. But this is worth
remembering for future work, at least.
Along this topic: I just received a package in the mail of a very old
(pre 1900, I believe) pre-embroidered piece that was to be cut for
slippers. A picture of same will apppear in the July issue of
"Embroider Now". I had no idea the author would send me this piece. The
fine satin silk was basted to its backing all around the edges - three
times - with coarse cotton binding tape. The backing is coarse - akin
to a fine washed congress.
The embroidery - all silk - has faded in parts, and the silk satin has
deteriorated in a few sections (at the fold and another large spot).
But this is quite the piece to behold. I have learned some tricks as I
perused this piece. Interesting use of stitches - some in combination.
Split stitch was used in finer areas. Most of the embroidered motifs
are padded, and the workmanship is fastidious.
However, for those of you who get angst over your backs, this isn't that
neat on the back. The embroidery is beautiful, probably Asian in
origin. Stem stitch went from fine to wide. The knots are either
single or double Pekin(g) knots - definitely not Fr. knots.
I've been in heaven over this little surprise package. :-)
Dianne
Marjorie Holme
held the two ground fabrics together sufficiently. I'll have to remember
this. I've used this type of basting for machine quilting and for things
done in the hand, though. Marjorie
Bungadora
>By the way: I just read an article (can't remember source, but a good
>one - maybe Mary Thomas - been doing a lot of reading lately), which
>author cautioned to firmly baste both layers of fabric like a grid so
>that the upper fabric doesn't shift and cause pulling later. May be
>too late for you, but I remember doing a piece with a muslin backing and
>there was considerable puckering of the muslin after the embroidery.
>The top was fine, so I didn't pay it much attention. But this is worth
>remembering for future work, at least.
>
I'm working on quite small pieces so far, so I haven't experienced much of a
problem, but I have noticed the backing tends to 'bubble' a bit. However, on a
tightly woven fabric like many silks, wouldn't the grid leave a mark?
Your slipper piece sounds facinating but ...<snip>
The knots are either
>single or double Pekin(g) knots - definitely not Fr. knots.
How can you tell?
Dora
lula
I'm truly sorry to read the sad news on the recent loss of your Mother
but am glad you're coping with the help of your work.
It's impressive how creative one can be when faced with such deep
grief. Your family art "quilt" is a wonderful memorial for you and the
family to share.
Some of my best artworks were created while going through similar
circumstances.....doing creative work helps one to focus on the positive
aspects of life so one can begin to "heal" as you've noted.
Isn't it great how many different ways one can "see" things? How
creative we all are in coming up with solutions to a variety of creative
needs?
There is no one way of creating shadow and shading as you're seeing from
the three dimensional design Peony class. Basically, the solution
depends on the look we're after.
That's why some artists seem to be more creative than others......they
happen to see "solutions" in even more different ways.......think
outside the box as the popular saying goes.
It's too bad my deadlines for the NYC design show is so all consuming at
this moment but on short breaks I look longingly at my new box of 162
hand dyed colors of pearl cotton #8......I unwind the threads to admire
the gradations of colors and daydream how the gradations of colors will
look embroidered.
There are moments while painting an illustration, I daydream how the
brushstrokes would look stitched and even paint details that will look
great stitched!
I'm very excited about trying out the various printer sheets, either
fusibles or non.....creating multiple images, such as repeating squares
in arrangements of black & white or interspersed with color or using
various techniques on the same multiple images for different finished
results in a wall hanging.....or the repeated images can be used for a
border........loads of options for sure and a seemingly endless supply
of images to work with! I can also create "collage art" images based on
my work to play with too!
It's going to be a definite thrill to see my artwork made into my own
custom "fabric"!!!
The other exciting option for the printer images will be the use of
embellishments......from embroidery using interesting all sorts of
thread colors & textures, to found objects of all kinds!
Those small variety packets of beads I've been collecting, come in many
sizes, shapes and gradations of colors is a dream come true......using
the variety beads will really enhance the printer images.
Working with collage techniques is already enhancing my paintings and
needlework designing......I'm seeing everything in a more creative way
than two dimensional painting or even needlepoint!
lula
You'll enjoy seeing the Sudo books at a good quilt shop or even chain
stores like the Super JoAnn's Fabrics & Crafts will carry many of these
interesting quilt books......I love these books for the colorful
inspirations and clever techniques that I might be able to apply to my
own creations.
---
Lula
http://www.woolydream.com
Needlework Adventures
BDS2pds
have not been able to do the blackwork and try out his many threads in there.
The book alone was $59 for a few patterns and the thread kit a lesser $40 so
usually would have gotten to it earlier. That is for me; have utterly no use
for it planned and I like doing things like that . We are moved in now well
and hopefully can get to it this summer. I have waited and waited....First the
next week is for the inlaws.
Dianne Lewandowski
> I'm working on quite small pieces so far, so I haven't experienced much of a
> problem, but I have noticed the backing tends to 'bubble' a bit. However, on a
> tightly woven fabric like many silks, wouldn't the grid leave a mark?
> Your slipper piece sounds facinating but ...<snip>
Like all things, you'd probably have to "test" to see if a grid would
leave marks. However, a grid *could* be made where the embroidery is to
be placed - at least in some instances. I know that threads leave a
mark on velvet, but that can usually be corrected by steam - however, I
don't always have luck with steam. It may be the difference between
silk velvet, rayon velvet, and the newer poly velvet (ugh!).
Yes, the bubbling and shifting is what I was talking about. But if
you're not going to see it . . . who cares? As long as it doesn't
distort the finished project. That is: since the backing is bubbling -
you can expect, when finished, that the muslin won't be the same size as
the top piece - so allow extra all around.
> How can you tell?
How can I tell the difference between Pekin(g) and Fr. knots? Easy:
the former looks like a couched down loop, the latter is a ball.
Dianne
Bungadora
>> How can you tell?
>
>How can I tell the difference between Pekin(g) and Fr. knots? Easy:
>the former looks like a couched down loop, the latter is a ball.
>
>
cross stitch in embroidery, I have always found French knots to be easy. It
recently occurred to me that for that reason I must be doing them wrong, or at
least doing a different sort of knot. With my recent excursion into the 'other'
embroidery, this has become a matter of concern. So I went looking for
references and so far have collected 3 different ways of doing them. I haven't
located a Peking knot yet. I haven't googled or done an internet search yet,
but know you have talked about this in the past. The french knot I do is a
little ball with a stitch going down the middle.
Dora
lula
I know of what you're describing about the backing on your embroidered
piece.
I've seen the coarse "scrim" type of cloth used for backing in Asian
embroideries used for small caps, embroidered stitched slippers and
shoes......it's was a common type of backing.
Many of the embroidered shoes I saw as a child were from China, sent by
my Grandmother and other relatives.
I recall my mother making the most fun, whimsical embroidered animal
motif baby shoes along with matching silk caps with little tufts of
bunny fur for my "baby" brothers. Boy babies merited this special
"protection"!
I don't recall my baby sister ever having a similar cap or shoes, not
even a hand me done!
Once in a while, my mother would twist some fabric together which to my
eyes was like "magic" because these fabric scraps turned into little
dolls!
I'm sure she did a little more than just "twisting" the fabric scraps
into dolls but to my childish eyes, I never noticed.
The favorite motifs were tigers......very cute, smiling tiger
faces.....I admired and fell in love with the colorful motifs and the
charm of these stitcheries from an early age.
Sometimes a dragon motif was stitched with a large shiny "pearl"
attached to the front of the cap.
My mother and relatives also embroidered traditional baby carriers, made
from long strips of cloth with hand embroidered central panels that were
tied around the front of the body with the baby slung on the Mother's
back. These baby carriers were often stitched with beautiful needlework
featuring good luck symbols, good luck word characters along with other
decorative stitchery.
As I recall, there was never an issue about having a perfectly neat
stitched back.....not that these were sloppy backs........the backs that
I saw looked like the backs of a stitched piece and definitely
"non-reversible".....all my mother's and relative's stitching efforts
were put into the embroidered fronts.
---
Lula
http://www.woolydream.com
Needlework Adventures
Dianne Lewandowski
> Dianne,
>
> I know of what you're describing about the backing on your embroidered
> piece.
> I've seen the coarse "scrim" type of cloth used for backing in Asian
> embroideries used for small caps, embroidered stitched slippers and
> shoes......it's was a common type of backing.
I wonder if there is an equivilent today?
> Many of the embroidered shoes I saw as a child were from China, sent by
> my Grandmother and other relatives.
> I recall my mother making the most fun, whimsical embroidered animal
> motif baby shoes along with matching silk caps with little tufts of
> bunny fur for my "baby" brothers.
So, THAT'S where you get your love of embroidery??!! (smile)
I had directions, at one time, for making the cloth dolls out of a
napkin or handkerchief. Bonnets were fashioned from handkerchiefs, also.
Dianne
lula
That coarse "scrim" lining material looks like a typical made in China
fabric for lining, stabilizing purposes. I've seen this type of fabric
used for this purpose in products from China for many years......it or
something like it might still be made but haven't looked recently.
---
Lula
http://www.woolydream.com
Needlework Adventures
<dia...@heritageshoppe.com> Dianne Lewandowski wrote:
>
> I wonder if there is an equivilent today?
>
> Dianne