Here’s another quilting needle from Jeana Kimball’s Foxglove Cottage. And seriously folks, if the maxim – the smaller the quilting needle, the smaller the quilt stitch – is true; then this needle better give you teeny, tiny stitches. Heavens!
This arrived in my Inbox the other day and rather caught my eye. Weldon’s Practical Needlework Deluxe Edition from Interweave combines the first six volumes of the series into one collection.
Here’s the blurb which came with the email:
Packed full of useful articles for men, women, and children, cross-stitch patterns, designs for various stitches, Weldon’s Practical Needlework will surprise you with ingenious patterns which are still practical today.
Originally published during the Victorian era in England, Weldon’s Practical Needlework magazines focused on knit, crochet, patchwork, and other needlework.
This magazine offered women of the growing middle class a variety of technical instructions and projects for everyday clothing, baby items, and household goods. The magazine also contained instructions for oddities such as crocheted lampshades, knitted knee-warmers, and even leather flowers.
Now available as an extravagant boxed set, Weldon’s Practical Needlework: Deluxe Edition contains the first 6 volumes of the series. Each hard-cover volume of the series is comprised of 12 monthly issues. There are roughly 16 categories and over 2,000 projects included in this collection.
In addition to knit and crochet, the volumes contain a variety of decorative needlework: crewel, appliqué, cross-stitch, macramé, smocking, bead netting, and other lesser-known techniques.
This collection is a facsimile edition of the original Weldon’s Needlework. No edits or changes have been made to the original documents.
If you are a lover of history, then this collection will satisfy your historical curiosities of knitting, crocheting, and needleworking!
AND, you get a free EBook to go with it. – Weldon’s Practical Needlework: Deluxe Edition + Victorian Times eBook Bundle.
I love these types of things. It reminds me that what goes around, comes around. My mother gave me a slew of old knitting patterns years ago and some of the designs were just gorgeous. And utterly wearable today.
I’ll bet there are some ideas and designs in this collection you could fall in love with.
Some years ago I was part of an art quilt group founded by Hollis Chatelain. Life and geography have intervened since then but in my mind I hold the quarterly meetings and the members as a wonderful memory. And am grateful for the friends I made.
Hollis found a technique and style suited to her need for political and environmental comment. Quilting isn’t usually associated with social matters. If quilting is mentioned most people’s knee jerk reaction is to say – “oh, I have a wedding ring quilt hand made by my grandmother, could you finish it for me?”. Or variations…….
There is a vast underground of mostly women artists (which is probably why we receive the above comments), who use a soft medium and speak about their world view. Be it social commentary, colour studies, cartoons, abstract, 3-D pieces, or any other known expression of creativity. And possibly unknown!
Enough of the serious stuff. This isn’t meant to be an essay on a particular art form. I want to introduce you to Hollis Chatelain’s work from my point of view.
She operates in three areas. Figurative, Abstract, and Nature. Because I am more of an abstract artist I have greater interest in her abstract work. I have the usual reaction of humans towards realistic depictions. If it’s not spot on it feels off, and therefore makes me withdraw from the work. This is known as the Uncanny Valley effect.
Of course, I immediately show a piece which isn’t something Hollis is known for. It’s one of her alternative methods of making quilts. But I just wanted to point out her use of colour and the title, which incorporates the word FLOW. And exactly describes the work.
This is a piece she made in 2013. It’s absolutely lovely. It uses complicated swirls and patterns from a painting by a Nigerian artist. Hollis bought the painting and translated it from paper to fabric. Once again, this is not what Hollis is known for but makes sense in her body of work as she is firmly connected to Africa.
This piece is created in Hollis’ known style and technique. It is a hand dye-painted, machine quilted, whole cloth quilt.
Her statement: “An area of natural forest the size of a soccer field is cut down every two seconds, estimates Greenpeace.
From lush trees and wildlife to barren fields and deserts, how long will it take before the change becomes irreparable?”
Can you imagine walking into a gallery and being faced with this huge work? it’s nearly 7 feet wide. Firstly you are drawn to the colour – she tends towards the monochromatic. Then your eye turns towards the left of the piece where the heavier and darker trees lie, and finally you mentally walk down the avenue of shady trees.
But the kicker comes when you naturally go closer to the work because you wonder – how on earth is this made?
Strikingly, the whole surface is stitched thread.
Finally, you read her statement. And think a little.
Who knows what goes on in the mind of an artist? People may question why Hollis works in fabric and thread when she is obviously an accomplished painter and photographer. My guess is; the things she wants to talk about are more forcefully brought to attention when a left field medium is used.
It might be a deliberately calculated choice to differentiate her work. It might be Hollis just likes working in fabric and thread.
But she sure gets attention whatever her rationale.
These English quilting needles are our replacement for the lovely Jean Lyle quilting needles.
This is a good standard size. They come bigger, and they come smaller, but this is the size most hand quilters use.
Having said that, I tend to use the smaller size 11. No idea why. I just do!
I like the way these Foxglove Cottage needles are packaged – in a little tube. There are 16 needles in the tube.
Much of my work incorporates hand quilting and stitching. Which means using as many gorgeous threads as possible.
Years ago, while wandering around the Knitting and Stitching Show at Alexandria Palace in London, I came across an array of bright colours. Stef Francis’ booth was utterly eye-catching. After nearly an hour of gathering, holding, feeling and gazing, several skeins of space dyed cotton came home with me to America. They hold a special place in my thread stash.
Any time I attended a show in England I would look for Stef’s booth and augment my collection – which is now a decent size!
Not only does she create mouth-watering yarns but she puts together kits. Everything comes in the kit: the fabric, threads, beads, sequins, and template.
This is Floral Fantasia – such lovely bright colours.
If you just want to play she has put together some co-ordinated fabric packs. This is fabric pack #6. Think what you could do with these?!
Not only does she sell lovely things but she creates her own artwork.
This is Flamenco. It is created with silk rods and gold leaf and hand stitched on silk noil.
Go look at her Gallery to see more beauties.
Look at these pretty beaded butterflies by Karen Parker of Wizard Island Designs.
Beading Daily found her at a farmer’s market with butterflies, moths, dragonflies and circles galore.
Karen makes them using brick stitch and follows the colouring of the wing scales.
I think they are gorgeous.
You can look at some more of her work at her Etsy Shop.
Can you tell I like making these bracelets? I’ve made them in 3 different colorways and I’ve still got some more ideas. The new picasso finish – which is turning up on all types of beads – really appeals. And when they are paired up with peacock tiles – well……., yum.
This is what the bracelet looks like lying out flat. It’s 8″ long from the tip of the toggle to the clasp, and is 1″ wide. It fits a wrist diameter of just over 7″.
Here’s a back view so you can see how pretty the beads are together.
And this shows you the lovely ceramic clasp made by Jennifer Davies-Razor.
Colour is ………. Well, what can I say, it just is. And some of us can use it to advantage and some of us need help.
When I painted in gouache using colour seemed pretty obvious. I painted stylistic landscapes and still lifes and used the colours I saw, or a derivative. This is a watercolour painting of a hibiscus. It was growing in the garden of my little Caribbean apartment.
BTW. This is the first painting I ever made.
It got a bit more complicated when I switched media to fabric. Then it was necessary to suggest colours, find them in the fabric stash, lay them out next to each other and decide if it worked.
Sometimes I had a pre-coloured design I worked from – such as this fractal art quilt Lydia, and sometimes just the line drawing. A minor complication was whether the fabric was solid, tone on tone, or multi-print. But even this could be dealt with by squinting my eyes, looking at the piece of fabric from a distance and gauging the predominant colour.
Then I started working with glass beads. And things got really strange……..
Because now you are working with transparency, metallic finishes, matte and opaque glass. So many different ways light reflects colour. Beads reflect onto each other too, add this into the mix.
One way to get started with colour is to play with an online interactive colour wheel. I found one here – The Interactive Color Wheel.
What’s specially neat about this colour wheel is the bar which pops up on the right hand side. It shows the hue and the tints and shades of a particular colour. Very useful.
After I found this I discovered Interweave were offering a live seminar – Seed Bead Savvy: Get the Most out of Your Seed Bead Colors and Finishes from Beki Haley. She discusses how to understand different seed beads and pick the right ones for your project. Just what I was thinking about. Thoroughly serendipitous I say.
In the early days, when I photographed my quilts, I used a digital point and shoot camera. A good one, but a point and shoot nonetheless. The images came out very well and many of them are on my website, or even in books and magazines.
However, this does NOT work for my jewelry. A friend donated one of his old digital SLR cameras, we bought a light cube, a tripod, and some lighting equipment. But still I had NO idea how to take decent photographs of my finished pieces.
Enter Jim Lawson and his rather sweet, slightly hesitant narration over an excellent DVD download from the Interweave stores. How to Photograph Your Jewelry has been an enormous help.
The video is divided up into different sections:
- Introduction with Lexi Erickson, Professional Jewelry Designer
- Point ‘n’ Shoot Success
- Using a Fill Card
- Beyond Point ‘n’ Shoot Cameras
- Photographing Sparkle and Color
- Diffusion Frames
- Capturing Detail
- Creating a Gradient Background
- Frequently Asked Questions
Jim talks you through a very simple set up. A camera, light, tripod, and computer. The first section gets you going with only your point ‘n shoot camera and light from a window which is rather nifty. I know you can get some pretty good pictures this way because I’ve done it myself. He then adds in the proper florescent light and talks you through the camera settings.
On Saturday we went to Michael’s and bought some silver and gold fill cards. For a long time I really didn’t understand what fill cards did. I am getting the idea now and can actually see the difference between using one and not using the card.
He uses Adobe Lightbox which I don’t have. But I do have Photoshop and most of the processes he follows can be done in this software.
I’ve watched this video several times now and keep learning something new. I didn’t know how to use the camera settings properly and now I do – thanks to Jim.