I just completed the interior cutwork and the interior bar wrapping. Here’s the latest progress picture:
Things are going slow right now because I have had a lot of homework, but I try to do needlework whenever I can!
Pattern Information: Small White Lacy Edge Doily designed by Elaine J. Holm and Marion D. Keebaugh from the book Hardanger: A Growing Tradition II published by Nordic Needle copyright 1999
This is a crochetted doily in progress. Still have a few more rows to go. This is from the book Pineapple Lace published by Nihon Vogue.
Still have a few more rows to go …
According to this test I am 49% right brain and 51% left brain.
http://www.wherecreativitygoestoschool.com/vancouver/left_right/rb_test.htm
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Last night I attended a workshop at the Arts Center called Marketing Muscle for Artists. As its name suggests, it was about marketing strategies for artists who would like to sell their artwork. I enjoyed it and thought it was very informative. The speaker, Dianna Fritzler, gave us a reference that I thought I would pass on to all of you should you be interested. It’s a book by Alyson B. Stanfield:
I’d Rather Be In The Studio! The Artist’s No Excuse Guide To Self-Promotion
Alyson also has a website and a blog that I will also give you:
Website: ArtBizCoach.com
Blog: ArtBizBlog.com
Artists who attended the workshop were at various different stages in their careers: some were full-time professional artists, some were part-time professional artists, and some were at the beginning stages of their artwork. I even got to see my two drawing class teachers. It was fun once again to drive into the Art Center parking lot. It felt like I was coming back home …
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I completed the interior diamond eyelets and the cable stitching.
Now I can do the interior cut work, bar wrapping, and filling stitches. After that … the lacy edge!
Pattern Information: Small White Lacy Edge Doily designed by Elaine J. Holm and Marion D. Keebaugh from the book Hardanger: A Growing Tradition II published by Nordic Needle copyright 1999
Below is the current layout of the center panel – the panel that will have the fabric folded flowers on them.
In this next picture I placed the printed fabric next to the panel layout so that you can see the fabric that I used to determine the colors I chose to make the blossoms.
Keep in mind that in the layout, the blossoms aren’t open yet. They are still folded closed. Opening them will be the last thing I do because it is easier to work with the rest of the quilt while the flowers are folded closed. When they are open, they will look like this
People ask me how I decided what order to put the flowers in the panel. I just put all 131 flowers in a big bag and mix them around
Then as I layout the center panel, alternating flower squares with background squares, I pull out a flower square and put it in the panel when required. I work from thet top left of the panel to the bottom right. When I am finished, I step back to see if there is too much of one color concentrated in parts of the panel. If so, I swap it out with another flower color in another part of the panel until the flowers look fairly evenly distributed.
Since I didn’t think I would be able to sew the panel right away, and I wanted to get it off of my floor, I numbered the rows and took a picture
Then within a row I stacked the fabric pieces in order from left to right with the first block of the row on top and the last block of the row on the bottom of the stack. Then I wrapped the stack in tissue paper and taped the number of the row outside the tissue paper wrapping. I did that with all 29 rows. That way, when I’m ready to sew, I know the order of the rows and the order of the blocks within the row. If I get stuck, I have the pictures to guide me.
This quilt is a modification of the quilt “Glorious Blossoms” designed by Rebecca Wat that appeared in her book “A Fresh Twist on Fabric Folding”.
The evening before New Year’s Eve I went to Hobby Lobby and found a display frame for a beaded bag that I made quite sometime ago. Unfortunately, in the frame you can’t see the back of the bag, but at least it’s encased in something that enables me to display part of it without me always having to handle the beads and risk marring them up. Inside the display case was what appeared to be a stiffened piece of batting. Because the beaded bag didn’t look too great on the batting, I covered it up with some blue suede material that I bought at Joann’s. Then I laid the bag on it, front facing up. The front of the glass display case has a snap closure on the side.
The back and front of the bag was designed by Deb Bergs and is made up of delica beads.
Because the front and back of the bag were joined together in a tubular fashion, the construction easily lends itself to a two-sided fringe, which I designed. I tried to fan the fringe out in display case so that you can see the detail. The back side of the fringe was made up of remaining delicas that were used in the construction of the body of the bag. I also used white hex beads, metallic blue AB charlottes. copper colored seed beads, metallic blue seed beads and bugle beads, and some fish-shaped beads. I tried to make the front fringe look like sea coral. I used various different coral and orange as well as green colored delica beads.
I also made the strap using the same types of beads I used in the fringe to give the bag some unity and I added a few different other beads that I had in my stash: some sand colored chips, #8 blue seeds beads and some red ab faceted crystals
This was the first beaded bag I ever made. It was a ton of fun. I’m trying to decide which bag I want to do next.
Clown School Beaded Amulet Bag designed by Deb Bergs copyright 2003 from the book Rain Forest Beaded Bags published by Design Originals
