Archive for the ‘surface design’ Category

lack of sleep…

Wednesday, June 28th, 2017

screen-printed letters for #20

After several weeks of contemplative staring at the wall, I am hard at work on no. 20 in this Defining Moments series. This one is about the harried years and my biggest challenge again was figuring out how to depict it. Finally I decided on a screen-printed background, with imagery & letters overlaid describing that chaotic time.

I decided two sizes of letters would be good, so I traced and cut Helvetica 2″ and Helvetica 3″ letters. Essentially the letters spell the same words that are screen-printed onto the cloth. Before I cut I calculated how many of each letter I needed because to just do it any other way would be crazy. I have been working on the letters for several days now, and also stitched the background in preparation for the layering. Yesterday I cleared off my design table to lay out the stacks of letters in alpha order to begin the actual layering of words.

How I was able to function yesterday at all is a miracle. I had just 3.5 hours of interrupted sleep the night before, for reasons I need not go into here. When I got up, nearly the first thing I did was walk into a wall, for which my right arm and right knee are painful reminders this day. As the day went on my energy returned somewhat and thus developed the letter laying plan.

Only this morning when I woke up refreshed did I realize what a huge mistake I had made in stacking this enormous pile of letters onto half of the design table. I actually needed to trim and square the already stitched background (quilt) so I know exactly how far to the edges I can lay the letters. And where would I do such a procedure? On my design table of course! The same design table that is covered with stacks of letters.

So what did I do? I did what any self-respecting efficiency expert would do. I gingerly folded the quilt in half one direction and then the other and trimmed the edges on the remaining open half of the table. And of course it was nowhere near square so I had to gingerly lay it down several times. I got it done with only 5-6 letters flying to the floor. I saved so much time and so much more sanity by not removing the letters and then re-laying them down!

Never underestimate the value of a good night’s sleep!

more letters…

this and that…

Saturday, June 17th, 2017

collage of images on my print table cover…yummy!

I got into the pool the other day. So how is this earth shaking news?  I used to swim all the time, at least three days a week for nearly 20 years. Then in 2014-16 I had this inexplicable weird thing going on in my replaced right knee, where it would fill with blood, rendering me immobile and in great pain for days, and weeks on end. I actually noted that it happened 40 times in 52 weeks in 2015, which left me useless most of the year. I had several come to Jesus moments where I understood the message I was receiving was about surrendering control. I also became even more familiar with living with chronic pain, a subject I was certain I had previously mastered.

So what interrupted my swimming was when I got into the pool one day in 2015 and my trick knee froze, leaving me immobilized in the water. It took an act of Congress to get me out of the water, and fear of re-ocurrence prohibited me from entering the water again for nearly two years.

About three weeks ago on a lazy Sunday afternoon I walked through the fear. I drove to the pool, told the guy at the desk that I was re-entering the water after a long absence and could he keep an eye on me?! Sure he said mumbling something about old ladies. I gingerly lowered myself into the pool and after a few terrifying moments actually enjoyed it and stayed in for at least thirty minutes. The miracle was my body did not hurt the entire rest of that day. That was worth noting as my body always hurts. It is just what happens when you mess with Mother Nature. Parts hurt. Always.

Three weeks passed and I rationalized from one day to the next why I could not possibly go swimming that day. Finally on Thursday I went again. And again I had to walk through the fear to get into the water. It was immediately warm and comforting. As I moved through the water I was aware of my hurting parts. I was really aware of my knees until I decided this is probably how knee prostheses feel in the water. It had been so long I had truly forgotten. As I began to relax through backstroke (oh my shoulder!) and breaststroke (why did I leave my goggles at home?) and stretching and bending, something else happened. I began to forget all the scary reasons why I put off this lovely form of exercise!

I began to think about how swimming should be mandatory for every citizen. You must get into the water and float for at least 25 minutes every day! Think of how unstressed our population would be if everyone just got into the water and moved around.

Why is it so hard to do this? How long will I allow this old fear to hold me hostage? I don’t have the answer to it except to say that my new goal is at least once a week to get back into the water, as I still get my cardio in other ways. I imagine at some point the fear will just fade away, maybe even glom onto someone else who needs it more than I do.

start of DM 20..paint blobs as potential design elements

Apparently this aqua movement not only shifted the pain, but also my brain. I finally got started on #20! How to design it has left me frozen in inactivity since before I went to OH for the Quilt National opening. I had typed the story and so this morning I made the screen and painted the background cloth, plus several remnants that will also be used for lettering. I am still not 100% sure where it is leading me, but I work well with that kind of direction. I had a little problem with the paint leaving blobs on the cloth but immediately saw it not as crisis but as design element with which I can work.

my Quilt National 17 experience…

Monday, May 29th, 2017

Defining Moments 12: NO Means NO

I have just returned from a quick weekend trip to OH for the opening of the 20th biennial exhibit of Quilt National. My work Defining Moments 12: NO Means NO was juried into this prestigious venue, one of 85 chosen from a pool of nearly 800 entries. My brain feels a bit like that spinning ball on a slow website…processing, processing.

Of the 85 works exhibited, six¬†were ‘quiet works’, i.e. those with¬†a message, whether it be social justice, women rights, politics, environment or disease. That¬†surprised me the most, that there were so few narrative works and¬†yet I felt gratitude that my¬†work was¬†selected and is being seen, and honored to be there as witness. Some folks, especially in the heartland, do not want to view¬†anything graphic ¬†or ‘controversial’ in quilts. As example my colleague Kathy Nida had a quilt yanked from an exhibit last year because a viewer thought she saw a penis in it and complained. There was no penis. Talk about censorship!

My work addresses the insidious problem of campus rape and more specifically my own experience, 50 years ago. In my work Defining Moments 12: NO Means NO,  I wrote the story of my 1967 campus rape and screen-printed it to white cloth to represent my lost virginity. I made a bias slash into the fabric to emphasize how this act of aggression disrupted my sense of personal safety and peace of mind. Then I added hand-stitching, starting with a freeing stitch at the top and increasing its intensity as my hand traveled down the work. This is where I really tapped into my anger over the assault and the shame that I had not reported it. The overall shape of the stitching reflects on the potential for pregnancy which thankfully did not happen.

I had to give two x 2 minute artist talks about the work. Although I have done a lot of public speaking, I was a tad nervous talking about such a personal subject to strangers. The compilation of talks will appear later on a Quilt National 17 DVD and also on You Tube. I will post a link when that becomes available.

me and my work on display at Quilt National 17The second talk was for the other artists and VIPs. Although I have done a lot of public speaking, I was nervous speaking about such a personal experience. Despite all the exposure from my Tall Girl Series I felt like carved open speaking publicly about this piece. And yet many thanked me for my courage.

One of the jurors was Nancy Crow, grande dame of the art quilt world. Eighteen pieces in this exhibit were derivative of her work. They were all bright, stunning, exquisite, abstract works of art. The many hours, days, weeks and years artists spent studying with her at the Crow Barn were quite¬†evident. They were large, hung perfectly flat, as if a sheet of paper and not draping cloth. The stitching was sheer perfection with¬†lines no more than 1/4″ apart. The remainder of the exhibit was¬†interesting work, some 3-D, and¬†beautifully constructed, well conceived ‘pretty’ quilts.

My favorite piece overall was that of Sue Benner. She designed a huge work of recycled clothing cuffs. Each cuff was the requisite three layers and they were stitched together by color groupings using tear away stabilizer and thread. It was just spectacular. One could see through it and it was just wonderful.

Sue Benner, QN 17, reverse side with pole accent

Undoubtedly, the best part of the weekend was real time meeting of so many colleagues I know from social media. To re-acquaint with artists I have met through SAQA, get to know artists who traveled from far off lands like Australia, Switzerland, Israel and Canada; make new friends, the networking, sharing; and especially meeting, sharing a car, hotel room and conversation with the dynamic rising star Amy Meissner from Alaska. It was pure pleasure to meet Judith Martin whose work has absolutely enthralled me for some time. She creates huge pieces, slowly and methodically hand stitching which are absolutely stunning.

I traveled three time zones and back in four days. I plan to rest up a bit and then on to #20 and more truth telling. This narrative work is tough at times but I do like the impact it makes when it goes out into the world. My work in Quilt National will exhibit at the Dairy Barn until September 4 and then will travel for two years.

Oh the places it will go!

peeling the onion, in reverse…

Wednesday, May 10th, 2017

Defining Moments 12: Motherhood, background under the needle

I have often heard it said that getting to know someone is like peeling an onion. My new style of working is more like peeling the onion, in reverse. It is a layering process.

Ever since I succumbed to the siren call of the mid-arm my whole style of designing has changed. Now, because I can, I stitch each piece in layers. First I piece the background and then quilt that. No more skies that start and stop at the edge of a building. Now the sky goes all the way across as a sky does. No more fused parts loosening up and dog-earring while stitching an entire piece. Now the machine appliqué parts are fused and then stitched, in their own time. It is so much easier and truly remarkable how much more professional the work looks doing it this way.

stitching text

I am currently wrapping up Defining Moments 19: Motherhood which has been a bear to create. It was a bear because I could not figure out what I wanted to say or how I wanted to say it.  I was reminded by my favorite aunt that motherhood for me was a challenge, and like all people, places or things that have challenged me in this life; they also have challenged me in the series. I was at a total loss for a design. I knew I needed to include Motherhood as a defining moment but oy, how? Finally I just sat down and started writing, free thinking if you will, just writing without editing. And what come out was remarkable.

free-writing, also screen the background

I wrote about how I never considered whether I wanted kids or not, because that is not what women in my generation did. We got married and had kids. It was the norm, it was expected. It’s what you did. Some might question how I could even admit that and yet I am here to tell you that my daughter, now grown, made¬†her own¬†decision not to have children, in her 20’s. When she told me, I thought what great courage and integrity it took to make that decision and do something about it. Perhaps her decision gave me permission to admit publicly I was uncertain if I should reproduce or not.

Another thing that came through the writing was my battle with postpartum depression. I struggled through it for many months and had never really spoken much of it, certainly not at that time. Those two issues alone make for a very strong piece about motherhood.

collage of daughter’s childhood images

Then I decided to then add something that personified the blessing that came to me through motherhood. So I made a collage on silk organza of some of the most wonderful photos of my daughter growing up. This adds the paradox of my motherhood experience; from all that worry and stress came this beautiful baby who grew into a woman of such integrity and conviction. She continues to be one of my greatest teachers, as I peel back the layers.

Happy Mothers Day!

another defining moment…

Monday, April 3rd, 2017

Defining Moments 18: Inner Growth

I just finished and photographed no. 17 and 18 in the series. With a total of 25 to do the light is at the end of tunnel, for which I have mixed emotions. This series like life has had its ups and downs!

I LOVED no. 18 start to finish and now I am staring down no. 19 which is about motherhood. While I have written the text the design remains elusive. So I will take some time to do other creative things and hope inspiration hits me upside the head when I am not thinking about it.

Most folks who have known me for less than 20 years do not know I was a hand-weaver and spinner in another life. It all started in 1974 right after we bought our home. I signed up for an adult ed class in silk screening, but was the only person to do so. Rather than refund my money they offered me another class, so I reluctantly chose weaving.

The teacher was fabulous. She was enthusiastic and supportive and had lots of ideas, both in books and experience. We wove on a piece of cardboard that we had wrapped with string for warp. I used a purchased¬†hand-spun as weft, as¬†I was not spinning my own yarn at that time. I wove an owl which was about 12″ long x 10″ wide. Hubs cut two wood circles which I colored¬†with black circles for the eyes. I was instantly hooked¬†so¬†he made me several frame looms and an inkle loom. Shortly thereafter I bought a four harness floor loom which took up most of my current¬†studio space and set out to weave yards and yards of fabric. Because I hate following recipes or patterns and am math-averse I seldom wove enough of any one cloth¬†to make anything. That is when I really started to patch fabric and¬†create garments from¬†my woven fabrics.

I like to say that I discovered I could buy fabric already woven when I gave up the loom for art quilts 18 years ago. I sold the loom and bought a much smaller Thermofax machine for creating printing screens. The remnants of my handwoven cloth have languished since waiting for divine inspiration. Along came this series and voila! My hand-weaving was definitely a defining moment in my life. I knew from the get-go just how I wanted to present that.

I decided to make leaves of the handwoven remnants, and some garments which I actually cut into! I also used some hand-knit scraps and nuno felting which I had done in a workshop years ago. I fused all the leaves back to back and with the exception of two¬†types. ¬†I whip-stitched the leaf centers and outside edges. The two exceptions were a tumbling blocks woven in 1/4″ ribbon and a twill woven from mylar strips. Both of those were so fragile that I machine stitched an edge of Clover fusible bias.

And I wanted the background fabric to be wide enough so a tree looked balanced and bright enough to pop all the handwoven colors. It was tempting to stop at 44″ wide so as to fit a shipping carton but it grew all the way out to 51″ wide, finished. The bottom, or ground on this piece is a fabulous piece of art cloth from a mentor,¬†Els Van Baarle.¬†¬†I do believe in supporting the arts, and other artists!

fused and stitched tree branches with leaves

In designing the piece I knew the best way to stitch it would be in layers. So I stitched the background first, then I fused on the tree branches and stitched those, both in and outside the lines for depth. Then I pinned on the leaves. My initial intention was to hand-stitch the leaves on, but I started with machine stitching the aforementioned special leaves. At that point I was thinking, oh this is too easy so I machine stitched all the leaves on! I stitched only down the center of each leaf which secured it but allowed for the awesome 3-D effect.

woven mylar vest

The tree seems an appropriate image for this piece. For through 25 years of weaving and knitting I grew so much as a person. I listened to a lot of Oprah while in the studio. I read a lot of self-help books and developed a sense of self worth for the first time. This tree is really represents the tree of MY life and my growth as a creative and as a woman.

So this is my first 3-D quilt! And I am so happy with it. It is joyful, just exactly how I feel in my creative life. And it may just be the signature piece of the series!

on dream machines…

Tuesday, March 14th, 2017

 

18 in process

Right after my blog post about the rationalization of why I should not buy a mid-arm machine, I decided to buy one! Two things suddenly occurred to me.

One, the idea kept resurfacing¬†while I kept shoving it down, so maybe it was supposed to happen?! And two, that I could have a big machine¬†upstairs if I simply got rid of the futon sofa in the office/guest room. Seriously how often do we have guests?! Like almost never. So why was I reserving this entire wall for the almost never guest and so¬†the dog could snooze all day on¬†said sofa? Once that came to me I felt as though I had been given a tremendous gift…aka permission to break rules, as in every home must have a guest room?!

It was quite the process to prepare for the new machine. I had to get rid of the futon sofa, have new lighting put in, shop for a machine, buy a machine and get it set up. Now all that has happened and just today I finished stitching my 2nd piece on the mid-arm. I stitched the background for no. 18 in the series before designing anything on it. The next layer will be a giant oak tree which I figured would be best stitched, if the background was already done. The top layer will be hand-stitched so much work in store.

When I learned to drive at 15 my mother drove a Mercedes which in my mind was a dream machine. My entire adult life up until about 10 years ago I was obsessed with someday buying a Mercedes. What happened about ten years ago is my non-Mercedes¬†had to go into the shop for two¬†days. I was instantly aware that I never would want to drive a car that had to be taken out of town to be serviced. So at that point I decided I didn’t much care what kind of car I drove, as long as it ran, was clean, had hubcaps,¬†no dents and¬†wasn’t American made. I do have my standards after all!

Today while stitching away listening to Cajun music it struck me that this new Juki mid-arm is definitely my dream machine! It goes really fast, only needs oil, and is not American made!  Cross that one off the list!

the muse is keeping me awake…

Tuesday, February 28th, 2017

handwoven cotton vest

Anyone who makes art knows how exasperating the muse can be. There are times when she has entirely left the brain, the building and the planet and try as we might we cannot ‘rouse her, no matter how disciplined or urgent the need may be. Then there are times when she is simply there, waiting but we don’t have the time. I have learned the hard way to never let this happen. When she is present, she must be noticed, she must be paid attention to and she must be fed. I can play digital mahjong when she is fallow.

And then there are the times when she is so present, she is dancing on the table, singing off key, shouting obscenities, anything to get my attention. Here I am. Pay attention to me dammit! And do it now, this instant, even if it is 3 am in the morning. 

For me that time is now. For the past three nights I have designed many pieces of work, in my mind’s eye while lying in bed between 3 and 6 am.

I am currently finishing the design of #17 of 25 of the current series; while no. 18, 19 and 20 are pacing outside the window. That is what it feels like, as I try to sleep but all I can do is consider construction, how will I execute that idea, should I try to hand stitch all those leaves, would it work if I tried to pillowcase them or would that be an exercise in futility? How big should I make that tree, what about the background? Do I have enough in my stash or should I buy more? What color way do I want to work in? How many leaves should I make? And the most anxiety producing question of all is when I finish the piece can I actually toss out the remaining handwoven remnants?

handwoven cotton-linen bag

This next piece is about my journey through hand-dyeing, hand-spinning and hand-weaving. It began when I was in my late 20’s and concluded at 50. In thirty years I wove all kinds of yardage and made garments, bags and scarves. I sold some, I gave a lot away and I sewed and wore some. Several¬†years ago, after I outgrew most of it¬†I gathered up a big pile¬†and shoved into a drawer in my studio, the famous someday drawer. Someday I will do something with this; until two years ago¬†I realized someday is here and I need to do something with it or get rid of it. So no. 18 is that something! I am excited at the prospect of the design I wish to create and yet still clearly in discussion with muse about how to actually achieve it, to communicate the idea without destroying the woven and knit cloth.

handwoven silk shirt

Ironically I am also experiencing the call of the spring cleaning genie which I am ignoring as best as I can. I don’t want to get sidetracked into tidying when I can actually be designing. And¬†I did the really big purge a year ago so how much can there be to sort through anyway? ¬†When no. 18 is complete I can depart with whatever remains of the handwoven cloth!

The essential ingredient in being able to let go of old and prized textiles, such as my wedding dress and now my handwoven is in creating something new and beautiful from them; essentially giving them new life. I need not drag around the remnants of old life for the rest of mine. It is quite liberating this art making!

 

 

 

and they said it wouldn’t last…

Friday, January 27th, 2017

detail of screen-printing, vintage crochet and bridesmaid dress fabric

Yesterday I finished the wedding dress piece...hurrah! I started¬†Defining Moments 16: Marriage early last year¬†by dismantling my wedding¬†dress. Then I¬†screen-printed our vows to the dress fabric as well as some of the flannel lining. I hand-stitched a strip of lace from the dress, fused on bridesmaid dress fabric in squares of various sizes, free-motion stitched the entire background, hand-stitched a photo image of the happy couple walking down the aisle onto my headscarf, hand-stitched my great grandmother’s hand crocheted headscarf to the piece and then, drumroll hand-stitched the entire headscarf on top of the crocheted scarf to the then¬†5 layers of cloth. That last step took many weeks but was so worth it because I love how it all turned out.

My husband helped me carry it downstairs to photograph. When I asked him what he thought he said HUH!  Man of few words then, man of fewer, now 45+ years later!

It was so fulfilling to me to make this piece. Many on social media thought it criminal that I was tearing apart and painting my wedding dress while I queried, what am I to save it for?¬†My¬†mother who made it would’ve been honored to see what I did with it, I believe. And for me the screen-printing and stitching of the

detail of hand-stitching

vows was a bit of a renewal in itself.

Onward to #17…

musings…

Saturday, January 7th, 2017

detail of screen-printed wedding dress, lace and bridesmaid dress

In 2012 right after my Dad died and I was recovering from my second knee replacement, I felt like I needed a lifeline. I had been ruminating for at least two years beforehand¬†about creating¬†a mixed media women’s art group. So I chose 7 regional artists to join me, and six accepted. One from my past life in fiber, another three I knew from the arts council¬†and¬†functions there, while others¬†I knew of their work but had never met them.

It was important to me that they be working in different media than I and that they were already established, with a list of juried exhibitions, website, sales history etc. I had been in groups where I was the only one with that history and there was nothing for me to learn. I wanted more! We had our first meeting, set up ground rules and started right in inspiring each other with our work and process.

Now nearly 5 years since, the group has redefined our intention, seen changes and moves, lost members, gained members, retaining three original and settled¬†into a very comfortable¬†dynamic.¬†Now we are a group of six, three here and three in Sonoma and it just feels so right. We rotate each month, meeting in each other’s homes and/or studios. Although my original intention was fewer fiber and more other media, we now are comprised of five who work with fiber (paper and cloth) and one who works with metal;¬†yet none of us does exactly the same work. And all of us have long marriages, which that in of itself in today’s world is¬†both unusual and spectacular!¬†One of the things I enjoy¬†most about this group is the wisdom that transfers between¬†us as we each move in,¬†out and through our individual creative processes.

Last week I had been asked, by a visiting artist friend, how much time I spend in the studio?¬†She asked me if I work in the studio every day? I laughed…hardly! It varies I said but I guesstimate I work in the studio on average 7-10 hours a week. And yet that seems so completely inaccurate to me so perhaps¬†I should keep track. Or maybe count the times I walk past the door?

In¬†yesterday’s art group meeting the subject of studio time came up.¬†Not so much from the how much time do you spend in the studio part but more from the how much time is spent in contemplation and research for each new work? It was then that I really¬†comprehended¬†that so¬†many of my waking hours are spent contemplating the message for¬†each piece in¬†the¬†Defining Moments series. In¬†addition there is thoughtful consideration of how, as in technique to implement that message so when the viewer looks at the piece they understand what I¬†am conveying.

A lot more time goes into thinking about the construction. I used to be very spontaneous in my work, and still am to some extent; but there is also careful thought¬†of just how to construct it to get the most impact; and that thought occurs everywhere, in the shower, at the gym, while driving, ‘watching’ TV, when I should be sleeping, etc. Then there is the stitching. As I am incorporating more hand-stitching into my work¬†I ponder a lot about that.

Most recently I have also dealt with my¬†inner perfection critic… just how perfect these stitches must be?! I used to say I was a recovering perfectionist but clearly there is more work to be done on that front! I find it rather¬†remarkable that I am so drawn to hand-stitching, and sometimes actually crave it, yet when I do it, it’s so tight. A good metaphor for the state of my brain perhaps. So there is more thinking about relaxing¬†which is truly¬†ironic, although a good overall trait to possess.¬†When all of this is added up it seems I spend hours and hours and hours on the process, but maybe just 7-10 hours a week actually applying hand to fabric.

hand-stitching my headscarf through 4 layers of lace, cloth and batting

That said I am putting the final stitches, by hand, onto #16 which is about our marriage, which truly was a defining moment in my life. Because I thought I would be through by now, #17 is being drafted and #18 insisted on 3 am contemplation last night.  So progress is being made on the final 9 pieces of this series, which I still very much enjoy even if it takes up most of my headspace.

So how much time do I spend on my art weekly? How many hours are there in a week?

 

 

it’s the little things…

Monday, December 19th, 2016

the image I wanted to stitch to cloth…just married (1971)

One of the things I most enjoy about this series work is I am continually challenged by how to convey my message or tell the story. The piece I have been working on (#16) these past weeks is about our marriage. A couple months ago I began the prep work by dismantling my wedding dress, which my mother had sewn from heavy cotton pique, lined with cotton flannel. This dress was so well constructed & sturdy, I could have gotten married in the Arctic in January, instead off spring in the Bay Area. After I took the dress apart, I made Thermofax screens of our vows from a fill-in-the-blank book gifted by the preacher.

I printed not only the dress fabric but some of the flannel as well. Additionally, I had retained one bridesmaid dress which was also made by my mother. The wedding theme was based on my Russian heritage. The bridesmaids and I wore headscarves and their dresses were of a flimsy, but lined, cotton voile in a red/white/blue paisley print.

the headscarf upon which I wanted the image

The dresses were ‘granny’ style with a wide ruffle at the bottom. Initially I thought to incorporate the ruffle into the new piece but nothing about that spoke to me. I decided instead to fuse different size squares onto the now pieced wedding dress background. That gave¬†the entire piece a bit of a whimsical feel which certainly was not my intention, but worked!

I hand-stitched a piece of the dress lace vertically to the piece. Then I basted my great grandmother’s hand crocheted lace headscarf to the base and hand-stitched that down. Only in doing so did I find a few areas of disintegration that previously were invisible to the¬†eye.

My idea was to then layer and hand-stitch my headscarf on top; but something was missing. It didn’t¬†quite feel right as the¬†headscarf was a large triangle bound in trim and¬†essentially blank¬†in the middle. So I decided to hand-stitch¬†the image of hubs and I walking down the aisle onto the headscarf before I stitched it to the base.

the reverse showing the image printed to silk organza

That became my challenge. I didn’t want to trace it and potentially ruin the one and only priceless heirloom. I thought of several options but none seemed right, so I asked an¬†artist friend and a mentor for their opinions. And voila, from that came the solution. I printed the image onto silk organza which I pinned onto the back of the headscarf heirloom. Then I gingerly placed it into a hoop and stitched the image through to the headscarf. Only after I lost the light when the sun went down did I realize I could perfectly see the image from the reverse side, so I flipped it over and stitched from the reverse, remembering to knot accordingly. Ah success.

the finished stitching of the image onto the headscarf

In today’s morning light I cut away the printed organza on the back side and voila! I have exactly what I wanted.

It’s the little things that bring so much joy!¬†Onward to the next layer…

 

2nd layer showing part of GGM’s headscarf and bridesmaid fabric on top of screen printed dress…stay tuned!