A simple life

I came back from Italy only to be consumed for six weeks by two intensive projects for the job I didn't retired from. By the half year mark, my studio routine was non-existent and creative accomplishments sorely lacking.

I resolved to fix that with judicious pruning. I limited my gardening activities, limited my already limited housekeeping (furthering its decaying state), limited my social life, limited my internet usage and stole away to work in the studio. I've now re-established my nightly studio routine and made good headway on an(other) intensive project, so I can ease up on my monastic life.

You want to see what I've been working on? I'm not ready to show you the whole thing. You'll have to be at the Crow Timber Barn in Ohio to see it. I'll be there from October 7th to 11th for Nancy Crow's Potpourri II workshop. This top will be there too.

Yet I can't have a post without a photo. So here's a teaser:

corner of four modules

A continuation of circles with straight lines.

I previously teased you with this. Well, I wasn't happy with this which was a very symmetrical four-square, about 40x40. I took it apart and made six more modules. Still wasn't satisfied and made another six. After 60 hours just piecing, I'm happy with this bigger (100x60) better relative.

Oh, life should be so simple!

Quilt as desired

Are you someone who can be ready for a trip at the drop of a hat? Then return home and jump right back into your routine without much jet lag? I am envious because that's certainly not true for me. Out of state trips always knocks me out for a week.

This two-week trip was wonderful despite a couple of hiccups. I re-connected with a long time (not old) good friend near Detroit. Together we took a short trip to Toronto. Then I'm at the Crow Timber Barn for a workshop - Machine Quilting: Inspiration, Design, Critique with Sandra Ciolino. I'll save the hiccups for another time and get down to what you really want to know about - the workshop.

iso right thread color & weight for Golden Sol

Sandy, our fearless leader (she prefers facilitator), not only quilts beautifully, she's a great teacher! Communicative, structured, generous, caring, attentive, open, non-threatening, organized and more. The qualities you wished all your teachers had. She deserves lots of credit for setting up an environment for everyone to thrive. What a difference five days made!

We were a small group of seven with not a bad apple in the bunch! Couldn't ask for a better group of people!

Machine quilting wise, each of us started in a different place - from little to some experience. But that was okay. Sandy gave each individual plenty of attention and guidance from wherever we were. Nudged and nursed us along until we were quilting with confidence.

We were also diverse stylistically. I expected more Nancy Crow students since it was at the Barn. Instead three had never taken any workshop with her and two had taken only one workshop. So we had a diverse range of quilt tops to critique.

The critiques were a fabulous learning experience. These were not a show-and-tell what's-good-what's-not likes-dislikes kind of free-for-all. Sandy provided a timed 5-step structure adapted and revised from Art + Quilt: Design Principles and Creativity Exercises by Lyric Kinard. Of course everyone wanted to know how to quilt their tops - our reason for being there.

The critique structure really worked and we really got into the swing of it. Sandy even joked she'll packaged us up and take us on the road! I got some helpful feedback and am no longer stymied by my larger tops.

The very first exercise was another fabulous learning experience. It made us take the plunge. Jump off the cliff. But in a non-threatening way. It opened up options. Very freeing. We learned there are no rules for thread color, thread weight and stitch lines. Sure, fiddle with the thread tension until that works. Otherwise, quilt as desired! 

I've heard that many times but was clueless as to what that meant. Now I know. There is no one way, no perfect way. Explore, experiment, play. Trust your instincts as an artist and quilt as desired.

With inadequate choice of threads, I didn't get far on the circle with straight lines shown at the top. So I started on these two small black and white compositions in the workshop:

geometric stitches with white, variegated white, variegated gray and black

organic stitches with contrasting variegated thread

A lot of intensive quilting. Geometric stitches requires focus whereas organic stitches flow more. By late morning Friday, I could only doodle:

stitcher doodles 

more stitcher doodles

Many thanks to Nancy Crow for going forth with the workshop despite our small group. Without your faith, this enriching experience would not have happened. When she offers this workshop again, go for it! You won't find a better teacher than Sandy nor a better facility than the Barn.

Apropos, Perfect Happiness was the title of Robert Genn's Tuesday Twice-Weekly Letter, which led with this quote from Winston Churchill: "The way to be happy is to find something that requires the kind of perfection that's impossible to achieve and spend the rest of your life trying to achieve it." Read the rest of it here. 

Maturing twins and other things

quilted

I've finished quilting the challenging twins and intend to have it squared, faced & sleeved by next Wednesday's mini-group meeting. Then they'd be ready to hang at the next EBHQ community show. I've learned a lot from this project. More about that later.

No more quilting projects before my October trip. But I intend to continue with fmq each day by quilting more little 4x4 samples of Leah Day's beginner-intermediate designs.

In the meantime, I'm preparing for a two-day dyeing feast with my friend Pat. We'll combine a couple of exercises from True Colors with Carol Soderlund, to dye neutrals in dark and medium-dark values. All one yard pieces - at least 26 yards total. A real dyeing experience (as opposed to little sixteenths last year (here and here).

I'd rather be in the studio (or the garden) but I'm actually doing some housekeeping. It's starting to look presentable for my critique group which will be meeting here next week. I clean for a reason!

Something to hoot about

Showing in the New Quilts of Northern California exhibit at Pacific International Quilt Festival (PIQF) which runs October 11-14 at the Santa Clara Convention Center in Santa Clara, California.

Spin in Brown 

Spin in Brown, detail

It's the second time I've been juried into this exhibit. Orange Rhyme made it in last year. Woot! 

I won't be able to see it there, but I hope you can. Instead I'll be having fun in Ohio at the Crow Timber Barn for a machine quilting workshop with Sandy Ciolino. Woot!

How do you do . . . ?

Update:
For another perspective on Sandy Ciolino's machine quilting workshop, see this post by Annette Guerrero. Annette was already an accomplished quilter when she took Sandy's workshop. What could be better than endorsement from another quilter?!


My apologies if you've seen the rest of this post before. Due to technical difficulties and user error, the rest of this post was temporarily un-published.

How do you do IT? Machine quilting I mean.

quilting Orange Rhyme

So many decisions. What designs/patterns/motifs to quilt? where to apply it?
Quilting to stand out or blend in? contrast or complement the quilt top?
And thread: color, solid or variegated, weight, fiber type.
Let's not even get into batting.
Use the walking foot? or are you comfortable with free-motion?
Quilt on a home machine? or on a mid or long arm? 
Do your own quilting? or have someone else do it? 

I've pinned my hopes on getting answers from Sandra Palmer Ciolino. She's teaching a one-week machine quilting workshop at the Crow Barn in October. 

I've already taken a basic introductory class, and a two-day workshop with Sue Nickels. I've followed Leah Day, Heather Thomas and Angela Walters online. I've stitched up many samples from The Free Motion Quilting Project. 

beginner designs

But I still don't get it - I have not mastered free motion quilting. Okay, admittedly I haven't practiced consistently. Yes, I know, practice, practice, practice! Two to three hours a day for beginners; more if not particularly gifted. Yep, that's me. 

the only finished project with fmq

My last quilt was intensely stitched with a walking foot.

lines up to 3/16" apart

Sure wasn't much fun getting the bulky thing to turn around under the machine arm. Free-motion would be the ticket to avoid that. Someone said, "don't let your skills limit what you can create". So my goal is to master fmq. 


A whole cloth quilt is not for me. Instead a perspective that'll work with abstract improvisational compositions. In time I may figure this out but I'm impatient. If fmq will never be my thing, then I want to find out soon. 

Sandy is a fabulous machine quilter using her domestic sewing machine. Check out her gallery of recent work on her website. I've heard much praise for her last workshop. She has quilted for Nancy Crow - that's alone is quite an endorsement. Plus she's a sweetheart to boot. 

There's room in the workshop. I'm hoping it'd be a go. Worst case scenario, it won't and might not be offered again. So won't you join me in Ohio for the workshop? Would be good for you. But really - full disclosure here - I'm asking in my own self interest.

Compounded & confounded

 

Curves Sampler

  

The Bride & the Batchelors - Wild Bride

Two weeks at the Crow Timber Barn - 5:30am to 11pm days - compounded by a three-hour shift from Pacific to Eastern time has turned life topsy turvy and my usually disordered household into a disaster zone. Small price for priceless workshops.

First week - Lines Curves Circles and Figure Ground, Part 1 - was the least stressful workshops I've ever taken from Nancy Crow. I didn't finish all the exercises, but gained much confidence piecing curves. A terrific time making these too. 



breakdown screen print




resist on silk



Second week - Layers upon Layers with Carol Soderlund - was a enticing exploration of surface design techniques which also cemented dyeing knowledge gained in True Colors last fall. The starch resist and breakdown screen printing are my favs.  

resist on undercloth & direct resist on pimatex

The bags under my eyes are receding. My pants are not worn backwards. I'm back at work and recovering from these exciting times. If I find those papers I'd stashed somewhere safe, life would return to normal.  



Dreamy two

I’m setting up at the Barn. Other workshop participants doing the same. Or they’re meeting new friends and reuniting with old. Atmosphere is electric with energy.

With a sinking heart I realized I’ve no boxes of fabrics. Uh oh. I can visualize them in the studio all ready to go.

It’s bad. Nancy tells me I can’t be in the workshop without materials. No point in being there if I can’t do the work. But . . . but . . . She says I have to leave. Waah! At least she takes a little pity and gets flight info for me. I don’t want to go. Waah!

Don’t worry. Just another variation of going to the first day of school in pajamas. I've had this type of dream before. A sequel to yesterday's Dreamy one from 2009. Okay. Worry.

After these heart pounding nightmares dreams, I prepare. Fabrics packed, labels printed, boxes ready to drop off. But I forgot - out of sight out of mind. Drove off without them this morning. Thank goodness for a sweetheart. He'll bring them to me in exchange for lunch. A small price to pay.

Old new tried & true

With long term intensive projects at work and at home, 2011 doesn't look promising for studio time  Work means much frustration. Home means much disruption. So what about artistic goals for 2011? They're less concrete, more nebulous, reflecting the state of affairs - guidelines.

Something old, something new,

Something tried, something true.

Old. During studio clean up, I unearthed many ufo(ld)s. I will not finish them all nor are all of them worth finishing. More workshops mean more ufos. So I will finish at least one for the EBHQ's biannual show in 2012.
New. I may not have time in the studio, but creativity doesn't take a break. I have ideas and am itching to start new work.
Tried. Something I've done before – like redoing an exercise from a workshop. Or someone else has done before -  maybe even adopt a pattern.
True. I feel the emergence of a series.

What else is store for 2011? Three week-long workshops. End of February: Indianola, WA for Nancy Crow's Lines, Curves, Shapes & Figure-Ground Composition, Part II. Mid May: Crow Barn for Dorothy Caldwell's Human Marks. End of September: Crow Barn again for Nancy Crow's Lines/Curves/Circles, & Figure-Ground. I am backing out of Carol Soderlund's Layers upon Layers in October since I haven't dyed a thing since last fall's True Colors and probably won't.

I know, I know. At some point I must stop taking workshops and develop what I know. While I am still earning a paycheck, I will continue taking workshops. Until retirement rolls around in a few years. Where I started almost four years ago seem light years away. Even if I haven't made many tops, haven't redone workshop exercises multiple times – all is not lost. Everything is starting to meld and jell. A little voice is speaking up.

Restructuring report

All right! All right! For friends chomping at the bit, here's my lowdown on the second workshop week at the Crow Timber Barn – Strip Piecing & Restructuring with Nancy Crow. I'll report about the first week in True Colors with Carol Soderlund later.

It was great having familiar faces there, including three from my guild - EBHQ - as well as meeting new ones. Everyone was focused and produced terrific pieces. I can't show you their work but here are mine.

Out of many many strip-pieced fabrics, we produced three compositions. What? You only see two?

I am not showing you my third and final composition. It was a disaster. I was constipated - not bodily, but creatively. And Nancy absolutely agreed. I don't know what happen or why. Let's just say my approach did not produce the desired results. I will begin that final one anew.

I am very pleased with the first two compositions. And miracles do happen - I finished them on time! They came together easily. Even Nancy was surprised! She revealed that my so very s-l-o-w deliberation in the very first workshop - Best of Strip Piecing 1 & 2 -gave her fits! Ooh! Sorry about that Nancy! That was only two years ago, yet seems ages.

Despite the labor intensiveness of strip piecing, I like this way of working. But there's no way I could do a quilt top a

week like Nancy's recommends. Maybe one each month. Or so (yes, I'm hedging).

Addendum: see Robert Genn's, The Painter's Keys, post about choking. Did he read my mind? To prevent creative constipation, I will sing as I work. You may suffer a little dissonance, but better that than a visual cacophony.

Planned absence

Work is crazy. The last few weeks of a construction project usually is. Lots of coordination with the contractor and subs, vendors, suppliers, fabricators as well as the operations department. Lots of details. Lots of decisions. Lots of "gee, did I remember to . . . " A little nerve-wracking as we head toward inspections and deadlines. The eventual goal: doors open for that first customer.

But Saturday I head to the Crow Barn in Ohio once again for two weeks of workshops. I didn't plan it this way. The project should've been done long before this. 

But, boy, am I glad I'm going.

Possible madness

I was just there in May. But in less than two months I'd be off to the Crow Barn once again. I'm taking a dip in the dyeing waters with True Colors with Carol Soderlund followed by a week of Strip Piecing & Restructuring with Nancy Crow.

Last time there I got a very clear message: make pieces between workshops and concentrate on tops rather than finished quilts. So I'd started here with a black and white study. Then I got off on a tangent. 

First circle was shown here. Yes! a circle is piece-able with only straight lines. (Don't listen to naysayers calling it a multi-sided figure.) The struggle with bulky seams around a second smaller circle showed I needed a little more method for this madness. 

I draw the circles with a compass and then locate equidistant points for the tangents. Points too close together mean struggles with bulky seams. Points too far apart call the naysayers out of the woodwork.

With a little math, I pieced two more circles, one smaller, one larger.

Ooh boy, possibilities!

S*** happens

S*** happens. It's one thing when s*** happens to your worst enemy. It's another when s*** happens to good people.

If you've been to the Crow Timber Barn, you'd know Margaret Wolf, the chef, not only feeds us so very well with her wonderful meals but also delights us with her good humor and supportive spirit.

Last May I met her husband, Dale, when he joined us for a few days. This is one couple I'd say has no better half. They're both terrific.

Margaret and Dale were recently in Germany where she has a wonderful piece in the Color Improvisations exhibit. She's the one in the graphic b+w dress in this photo. More about the multifaceted Margaret on her website.

Upon their return they received bad news. Read more about their son's accident and ordeal here. Just breaks my heart. Please send lots of good wishes their way. Nathan died on 8/4/2010. You can send your condolences here.