how much you can get done if you get up at a reasonable time – instead of slobbing in bed like a retired person.
All because I had to take Wensleydale to have his hair cut – and he insists on booking appointments at the time he used to have them when he was working. Eight a.m.
So I finished this – although I’m not sure about the beads. This is the book of the Contemporary Textile workshop I have been working on, off and on, for a while.
I also made a cover for my 2010 diary, from one of my painted Bondaweb samples. And after my rant yesterday I’m ashamed to say the only stitch in it is the zig-zag round the edges. Not sure how well the Bondaweb will stand up to a year in my bag, but it is a [very tight] slip on cover so if it lasts and I can get the same type of diary in 12 months time, it can be re-used.
Anyone else find it hard to believe that it’s 10 years since Y2K?
Here are a couple more of my inspired by Ms Thiitichai samples. After yesterday's whingeing - I quite like this [blush, blush].
This is Lutradur, painted with procion dyes, zapped with a heat gun and pulled apart – which is how you get those wonderful edges. The background is painted Bondaweb on brown paper, with a spritz of Moonshadow Mist [or equivalent]. It need some stitch, though I'm not sure what – but it is ‘just a sample’.
As is this. The grid is another Bondaweb and brown paper sample which I didn’t like – until I started mucking round with it. I machine embroidered it with a sort-of-fly stitch, changing the stitch length as I sewed - [great fun if you haven't tried it]. Then I sliced it up and wove it, and began to stitch it down with big silver cross stitches, which you can just see down the left hand side. Probably needs some beads – it’s got the sequins already …
The background is a piece of newspaper which was under some Lutradur when I painted it, which I have backed with iron-on interfacing to give it some body.
After yesterday's rant, Penscombe asked if I thought ‘technique mania’ was a C&G thing. I think flitting about looking at lots of different things, as you do on C&G, encourages it, but I have met non-C&G people at all those workshops I’ve been to. Don’t get me wrong, I think it is good to have a range of techniques you can call on – and our C&G tutor was very good at encouraging us to design our piece first and then decide how we were going to achieve it. [Not that everyone did – several people seemed to work the other way round – including me on occasion…]
Doing the degree has made me think quite a lot about my personal practice – and although we haven’t started making work yet [which is why I'm faffing about making sample books] – I don’t see much distressed Tyvek in my future … And you all have permission to sneer if in three years time I’m making pieces with it!
Another effect of doing the degree is seeing drawings everywhere. These are Wensleydale’s efforts on the drive. And those white blobs are what you think they are…
Here is a more conventional drawing, again inspired by Picasso, and scanned and printed on an acetate. It is a further exploration of the woman and flowers theme – she flips over to show the effect against the coloured collage and the sepia version. I am fond of this drawing – she pops up in all sorts of places. Just wish it was half as good as the original.