Why My Art Isn’t My Hobby

| ellenanneeddy

This has been a week of downtime. Don and I have both had the flu, and we took off studio time. I’ve progressed on 3 octopus quilts, taking them from the pin-up into sewn-down reality. But those two states don’t look very different. So I don’t have much show and tell this week.

Years ago, a mentor of mine told me that when you are young, you pick up everything like you’re in a candy shop. What defines us in the end is not what we take up, but what we put down.

Don wearing my crocheted wing. Don is a good sport.

I have a rotating hobby selection. I tat. I crochet. I play ukulele. I garden. I tweak recipes. I’m rarely on one thing or another for very long. I do cycle back to hobbies when I need something fresh.

crocheted Cthulu head mask

All of these things are artistic. They’re fun. They fill up time. None of them is art.

I believe in art. I believe everyone is an artist. I believe it to be inherent to being human. Art is how we make sense out of our experiences. It reaches way past media. We work it out in music, in painting, in sculpture, in fiber, or in writing. We retell our stories. Within the retelling, we craft our world into something we can live with. We recraft ourselves. If one path closes, another opens to carry this on. I balance between writing and my art. In purpose, they are essentially the same.

Hobbies are about filling time. We entertain ourselves, we learn, we grow. They are a pleasure if we’ve chosen well. Distraction at worst. I am never all that good at my hobbies. I never engage enough to become good at them. But they bring me joy, entertain me, and get me through bad spots. I think everyone should have a bevy of hobbies as a coping mechanism. I keep telling Don, yarn is cheaper than therapy. Hobbies may not be necessary. But they do spread oil on the gears.

Art isn’t optional. It’s a day-to-day struggle to understand what’s going on.

I cant say I understand my art. I sometimes do in time. I know an image gets in my head and I have to work with it. Once I have, something in me settles. I’ve changed myself by engaging with the image.

But before that, I crammed in all kinds of art experiences. I did batik, clay sculpture. I sewed everything I wore except my shoes and my bras. I made stained glass. At some point, Mary Annis gave me a quilt she rescued from our trash can. I’ve quilted ever since.

That was it. What defined me after that was what I put down. Nothing mattered like quilting.

When did my quilting turn into my art? Like most things, it’s hard to see the source. I really don’t know.

At some point, I started taking my quilt to my therapy appointments.I think that probably defines it.

What do the octopuses mean? I think I’m talking about the ability to multitask, think in different ways, and move like smoke and ocum, all of which I desperately wish I could do.

Is it my work? Is it my vocation?

Everything eventually turns into work. There’s the day you have to bind something. The day 6 small quilts are due, and none of them finished. It may be fun. It may not. But you need to get it done.

Also, if you’re going to live off your art, it inevitably becomes work. There’s a lot of perspiration and much less inspiration. You are producing a product. Often, that’s smaller, less exciting pieces. They are worthy. They pay for bread and butter. It’s what you love, but it also has to get done.

Why should people buy art? Because it changes the buyer, too. It makes you laugh, or hope, or cry, or giggle. It opens your heart and your mind. It also supports artists, so they can continue to create the things that change them, change you, and change the world.

So the lines aren’t that strictly drawn. My hobbies are my entertainment. My art, I do for my soul. I love it all, but at some point, you just need to get things done. Work may be a four letter word. But it’s not the worst of them.

So don’t tell me I have a nice hobby. Welcome to my art.

The Big Black Line: More than Just an Outline

| ellenanneeddy

Every image has to be attached to a quilt at some point. There’s more than one way to accomplish that. But the one I use most is a solid black line of polyester zigzag embroidery.

That sounds dull, doesn’t it?

The black poly outline does more than you would suppose. It creates a crisp outline.

I’ve tried using other colors. Bright, light, neon colors. Nothing gives the same punch as black.

It’s not true of flowers. I can use a bright color outline on a flower that pops it perfectly.

The outline defines the edge visually. If you want it to show up across the room, you’d better make it bold. The outline is the finish line.

I’m just finishing outline octopus 4. One nurse shark is outlined. One is not.

But it does two more things. It makes the image puff just a little. I like the 3-D effect.

And it holds images down solidly. These embroideries wave around the edges like the flag on a windy day. A light line of stitching does not hold them down well enough.

I did not need to cut either the sharks or the octopuses, to get them to lie flat for this quilt. All of it was done with a heavy black outline. The thread traps the edges and mashes it into place.

I used to use black metallic thread to outline metallic images. But since that has to be done with metallic thread in the top, it’s an all-day sucker. Takes forever. Endless breakage. The polyester thread doesn’t have the same shine. But I only have so much hair I can pull out in one afternoon of sewing.

Doing the Twist: Designing Ways

| ellenanneeddy

I’m always astonished at how much an image can change with positioning. One of the advantages of component quilting is that it can be moved endlessly to get the placement right. I went to embroidering large images some while back. But I’ve learned several other things component quilting allows me to do, and I use it constantly now.

Changing Processes

Three changes in my process made this work: component quilting, pin-ups, and daily process photos. I work with components rather than images stitched into the work. I do multiple pin-ups for placement, and daily process photos that let me track the changes.

These are all relatively new for me. But it wasn’t something I planned. I just happened to find these processes helpful, and now do them regularly just in my studio work.

Component Batch Quilting

Batching a number of elements at once allows freedom later on in the project. Instead of just doing the larger images, almost all of the embroidery is on a separate sandwich, ready to cut out and use.

  • I’m free to change my mind about each element. If I embroider a moth in the piece, that’s where it stays. Right or wrong, it’s not going anywhere. You live with your choice. If the moth is separate, I can move it indefinitely.
  • I can make images from the same color choices that are in the same range but unique.
  • I can always use whatever is left over. There are never enough fish, frogs, bugs or birds.

So now, almost all my embroideries are made as components that can be used at will. For more information on batch quilting, check out Streamline Quilting with Component Techniques.

Pin-Ups

The first pin-up is where I design my quilt. Once I put the quilt top on a sandwich, I put my main images in, see where they might fit, to rearrange things.

But the first pin-up is only a beginning. In this case, I did my pin up, added my elementals, and pinned it back up with those included. My original intent was to have the octopus learing over the top kind of like Cthulu. But it was flat.

So I gave it a twist. To make something move, put it on the angle. I angled the octopus, to put him into motion. Then I angled the other elements to echo that motion.

Picture This. by Molly Bang, is the best book about composition. It’s about how people process imagery. First, she illustrates Red Riding Hood with rectangles and triangles. And she made it work.

But she explains how we see things, what meaning we take from images.

If you are an artist, run out and buy this book. Then buy another 5 copies, because you’ll want to give it to every artist you know.

She has some very useful observations. Horizontal lines are stable. Vertical lines are stable. Angled lines look like they’re falling. If they’re falling, they’re in motion.

I angled the octopus to echo the left jellyfish.

Then I angled the nurse sharks to echo the octopus.

Daily photography

Having daily process shots gives me so much information about what is and isn’t working in a piece.

Including a black and white picture to evaluate values.

I’m always surprised at how much a little twist can do.

Round and Around the Garnet Stitch: The Octopuses’ Garden So Far

| ellenanneeddy

Octopuses have put me in the land of the garnet stitch. It creates. textire and pattern, all within it’self.

Garnet stitch is one of the great non-programmed stitches. it’s simply moving your hands free motion in circles. Check out the Variable Garnet Stitch for more information about the stitch.

Garnet stitch has another very useful feature. You can always see the background behind it. Sometimes that is to be avoided. I pick my embroidery background to match the overall background carefully, so only the stitching stands out.

But sometimes I want the embroidery background to shine through.

This was one of those times. The background for this piece is darker and moodier than the other pieces in the series. I needed something to lighten it up. So I used a very odd cream and green background. I love it. I have a green and cream light octopus in a dark sea.

We are on to the pin up stage for octopus 4. That’s always the moment of truth. You know if it’s going to work at that point.

Because I’ve made small metallic fish and 2 nurse sharks, I have my components to fill the space and set a path. I’ll tweek it some, but the design is pretty much there.

There’s a lot of stitching left, and I need to do my water layer. But I’m confident I’m going to like this piece.

Just to show you where I am in the octopuses garden, here’s the pieces so far.

One more at least to go. Does it look like a show yet?

Finished, Except that Nothing Really Ends

| ellenanneeddy

I have a very hard time when things finish. I’m an INFP for those who know Myers-Briggs. I’m happier with things left open, possibilities, choices, options. That moment when something is finished is joyous, but it’s also an end, a loss, as well as a win.

This could be an excuse for the large pile of unbacked and unbound quilts sitting by my machine.

.I have a friend I just heard is dying. One of those good and bad things about getting older is that we sometimes have thirty-year-old friendships. It’s like the world shuts a window that was a bright and different view.

I don’t know how to say goodbye to a friend from that long ago. He brought me wonderful art books helped me write and publish my first fiction writing, and took me to my first country dance. Wonderful gifts. I sent chocolate Haagen-Dazs, soup, and M&Ms. We bring whatever bits we have.

I hate watching things end. Even in art.

There’s an energy to art that might be its largest purpose. There is a connection between you and your art that wizzes around the room, even in the duller processes. I do believe art is alive. It has an energy of its own, and it communicates what should happen next. It is not your child. It’s a partner in co-creation. While you are making it, it’s remaking you.

There is a finish line, a moment where the last stitch is stitched. The energy stops swirling. There is an end. It’s wonderful, but something is lost.

But at that separation, something else happens. The connection between the art and the artist is cut like an umbilical cord. But art finds its own place. In someone else’s world or heart, it goes on to do other things for other folk. Art soothes people, riles them, teaches them, inspires them, but most of all, it changes them. If art is really good, it lives past you. Nothing really ends. It moves into the next space. Other challenges. Other purposes.

I’ve peppered this post with photos of the quilt I’m currently finishing. We’re stippling today. Almost done. It’s a good thing I have another quilt waiting in the wings.

Step-by-Step Guide to Using Color Theory for Thread Art

| ellenanneeddy
Outline, dark base, shader, and the beginning of the blue range

The nice thing about color theory is that it works across all kinds of media. What changes isn’t the color theory, but the way the media is applied.

Color theory for thread is different only in the fact that you really don’t mix colors. Instead, you lie them next to each other, and your eye mixes them.

These nurse sharks are part of my octopus garden. I don’t have their octopus stitched yet, but they were compelling. I love the spiky shapes. They will have orange-yellow stripes. I’m not quite there yet. Right now, I want them round and shaded, with a clear indication of which side is up. I need smooth color for that.

Smooth color creates a color range.

The formula for it is

  • A dark base color
  • A dark complementary color as a shader
  • A range of colors in the base family
  • A bright color as a shocker
  • A lighter or brighter shade of the base color to finish.
  • If the subject is too large, I can zone the areas of the image and repeat the formula in a set of lighter or darker shades.
  • I usually work light to dark. The last color will be the most prevalent, so keep that in mind. Sometimes with fish or frog bellies, I color the dark to middle section, add the lightest color on the other edge, and work in my darker colors, so the tummies aren’t so blatant.
Green as a shocker

I chose green as my shocker color. Usually, I would have used either the blue or purple complement, but orange is so strident. I will use yellow for the stripes, but I think I’ll brown them out so they don’t scream at me.

It takes a fair amount of courage to add the shocker. The shader layer makes visual sense. The shocker layer screams at you. There’s a terrible urge to rip it out immediately. But it quiets down once you put the next layer of the base color. And the color is smooth without being bland. The shocker is an electric spark in a range of smooth, quiet color.

It’s time consuming, but I love the base colors. Between the shocker and the shader, the color has a splash of excitement, but creates a flow color base.

What will they look like with yellow-orange stripes? I expect they’ll be quite jazzed up. I’ll show you next week.

Flat: The Struggle Continues

| ellenanneeddy

I love solid zigzag embroidery. It allows me to detail, shade, and shape an image as effectively as if I were painting, with the difference that I won’t have my media spill on me.

But zigzag embroidery, by its nature, does not always lie flat, The stitches pull together and it shrinks, but not in a regular or even way. Eventually, you are looking at an embroidery that won’t flatten.

Can you avoid it? There are things you can do.

  • Use stabilizer. I use Totally Stable, Decor Bond, felt, and Stitch and Tear, sometimes within the same piece.
  • Use a smaller stitch width
  • Embroider on a separate piece of cotton and stabilizers. Then cut the piece out.

Will that fix it?

Wouldn’t that be nice? No. All you can do is reduce the ruffling. So there comes a point where you are looking at a very unflat embroidery, ready to go on a flat quilt top. Desperate times call for desperate measures.

The outline accomplishes several tasks. It covers the edge. It cleans up the line. But it also gathers in and flattens the embroidery. And outlines of stitched areas make those areas puff just a bit. A lot of things lie flat after the outlining.

Except for the things that don’t. Surgery, along the design lines, is the final answer. Can I stitch over the two embroidered bits. Yes! Will you break needles at that point? Oh, yes. I plan to break 5 needles a day, outlining. I don’t always. But I have the needles in hand in case.

Are you screaming that I cut my quilt? I did. May I explain something? I sewed it. I cut it. I sewed it again. How is that different from any other kind of quilting? Fabric only bleeds in the wash. The rules only apply if I embrace them. And I won’t do that if the rules don’t give me what I want.

Is it worth it? Flat is a quilter’s concept. A bed quilt should lie flat. So we think an art quilt should, too. I’m not sure about that, but they do judge your work by it and it does look bad on the wall

I may have to cut in the surface to finally flatten this piece. We do what we got do.

Pump It Up: Where Size Matters

| ellenanneeddy

I never used to think about how a quilt would be viewed. Was it pretty? Did it move? Did it tell a story? Did it change people to see it? I never thought about how the size of the space around it affects what the viewer sees.

Now I’m keenly aware of the space a quilt will hang in. I don’t have any control over that when I sell a quilt. It goes where the owner wishes. It becomes part of their house and their lives.

But small work is viewed differently, just by definition. Small work is made to be examined. You come up close to see it. Every detail matters and is exposed.

Unfortunately, most small work isn’t really that visible at a distance. It’s made to be intimate. Your relationship with it is within its small space. It fills a tiny space with an explosion of color and detail.

Larger works have a harder task. Done well, they will pull you from across the room. The movement and the color should sweep you in. But once you’re up close, the detail should amaze you.

When I first started using rubbed fabric in pieces, they were all experiments. I worked very small, partially to learn and partially to see how they would be received. I was limited by the size of the rubbing plates. The largest were under a square foot.

I’ve worked hard to find alternatives since then. I’ve used ceiling tiles and texturized surfaces. I’ve learned to make my own rubbing plates from modeling paste using stencils. So my options have expanded not only in size but in possibilities.

With these octopus quilts, I’m using the rubbings as objects themselves, rather than backdrops. Mostly, I did seashells and jellyfish.

I love the rubbings I’ve done for this. But they need something to pump them up to be seen across the room.

I usually use straight stitch #40 poly thread to match and shade the rubbings. That’s exquisite on a small piece. It’s almost invisible at a distance. So how do we pump it up?

I chose to stitch my jellyfish in white. I rarely use white. It’s too bossy. But for this piece, white thread pumps the jellyfish up.

I chose to outline with a very small zigzag. It’s a subtle difference. But it does define the line.

For the seashells, I did not outline. Their shapes were visible enough.

The downside of this much stitching is that I have some distortion. We can fix that. Where’s my iron?

We’re ready to back and bind.

Tax Sale

| ellenanneeddy

We got hit with an unexpected and awful tax bill. So all my quilts are on sale.

New, old, large, tiny quilts all available at the best prices.

I don’t ever want to ask for money. Instead, I offer you my very best work at my very best price. If you’ve wanted a quilt of mine, this is the time. I’m also open to offers.

Thanks!

https://www.etsy.com/shop/ellenanneeddy