Progress...

...with one fascinator, anyway, the cream one.  I marked the shape I wanted to achieve, using an oval box which I use to keep my millinery pins in, while it was still on the dolly, and then removed it.  On the table, it looks pretty unprepossessing, but you can see the distinct curve that has been produced by drying the flat fabric on the dolly.

Trimmed down, though, it starts to take shape.

I'm concerned that I've made it too big, and that concern is continuing throughout the process, so a lesson learned, I guess...but given that this one is the first I've made in several years, I'll be happy if that's the only serious mistake I make.

The next step is wiring, so that it retains its shape, and then the edges are covered in bias binding.  I won't tell you how long all that took... bias binding is a pig to work with, regardless of what type of fabric you use.

And now, it's a bona fide fascinator base, all ready to be decorated.  Looking at it on the dolly, I do think it's too big, but, as Robin said when I said that to him, fascinators are really all about the decoration...so we'll see.  But I've got lots of decisions to make before it's finished....how to decorate it, how to make it stay on the head (millinery pins are fine for wood, but not so good for humans...)...but for now, that's it...  and I'm pleased to have got this far.  More tomorrow.

Going Bananas...

over sinamay... well, it is made from abaca fibres, after all.  I've now got three bits of pink sinamay bias.  I'd forgotten how scratchy this part of the process is.  I can usually give you some sort of comparison, to put it into context, but there's nothing equivalent.  Imagine working with very stiff hessian, perhaps.  It does what it's told...eventually...but its edges are not pleasant to work with.  And it gets caught on your clothes, sigh.  The image gives you an idea of what you get from a cut strip of this size.  If you think it's narrower than you would expect from 'normal' fabric, you'd be right; once it's folded, you tug it slightly, which makes it longer and thinner, easier to work with. 

I had three pieces cut, well, six in all, because sinamay is used doubled or even tripled, to make three pieces.  The key words for this are stretch and smooth...you'll see why as the process progresses.  To make fascinator bases, the sinamay is stretched flat on the dolly, working to get it as smooth as possible against the curves of the block...

As with all fabric, it is stretched across the diagonals, first, and then more pins are added...and taken out...and re-added... to get as smooth a result as you can manage.  Working with 3 dimensions, as you do with normal hat blocks, uses the same principle, but is even more fiddly...again, starts with the diagonals, and then additional pins are added.

You can see from this image how fiddly this is... the fabric is being stretched on a curve, so pretty much every time you add another pin, there's more excess fabric to be stretched out.  Eventually, you get to this...

Not perfect, but good enough for practice.  Here's the upshot of my morning's work...

These have to dry, first, then I'll decide what shapes to make the respective fascinators (probably a circle and a tear drop shape), and draw that lightly onto the top layer in pencil, before taking them off the dolly and wiring them.  The other shape will be removed from the block and wired.

That lot took about an hour, my limit, really... so now for a bit of a rest...  It does feel like going back to square one, in many ways, but at least I can remember what to do... and I have books for reference. 

Getting Back To Hats...

seems like a good idea.  They're relatively small, albeit a tad fiddly, I can pick 'em up and put 'em down as the energy dictates, and they're useful.  What's not to like?   Besides, I can use a fair range of the textile skills I have on them, and explore working in 3D, while I'm at it.  So, I ordered some of this stuff, cotton covered millinery wire, and it arrived yesterday; it's fine, but not too fine, infinitely flexible and relatively easy to work with.

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I have a fair amount of sinamay already, so I don't have to spend a great deal...except...I really want a brim block, so I can use the larger blocks I already have...but we'll see how we get on with the blocks I have.  Besides, I can't make up my mind what kind of brim to buy...I don't have infinite resources, and I need to get something useful.  Decisions, decisions.  I'm going to stick to fascinators for now.

I decided to work with some of my existing offcuts, which have been sitting in a box for I Hate To Think How Long...  there's some white bias already cut and shaped, so I cut a couple of squares for fair sized fascinator bases in white, and a couple in pink.  One of them will be pinned over this block (which I think actually belongs to my friend Clare...sorry, dear heart...).  The other will go onto Dolly, to give it some shape... a dolly is a head shaped block on a stand, which I use to shape things, but also to see how a hat looks as I add things to it....just in case you were wondering.

The block is covered with clingfilm to protect the wood, in case you were wondering.   And as I'll need some pink bias, I started cutting it...  I'll  probably discard the discoloured areas ... sinamay fades in the sun, clearly.

Bias is used a lot to create embellishments for hats, as well as simply binding the edges; fortunately, sinamay is much easier to handle than, say, silk.  I need to make some embellishments for this little comb I found in a box... I covered it who knows how long ago, it would be fun to put a flower or a swirl of sinamay on it, to make it interesting...

I have a lot of combs like this one; I'm planning to cover them and give them to a local charity to raise funds, if I can find one who would be interested.  Sophisticated ones for grown ups, and cute for kids...should be fun.  I've made grown up ones before, modeled by my friend Gemma, again, a very long time ago...see the post herehttps://artmixter.blogspot.com/2012/02/snapping-up-storm.html.

Mostly, though, I'll be doing this for the joy of it... hurrah.

Unpicking Stitch...

...isn't something I do routinely.  Partly, that's because of the way I use stitch... I tend to use layers of stitch, so one wee blip doesn't cause me to unpick a line of stitching. Partly, I'm fairly flexible; I don't usually have something specific in mind, so the word 'wrong' doesn't really figure in my artistic vocabulary.  So it takes something seriously 'wrong' to make me unpick.  This, though, ticked all the boxes.

It started with one of Cara's paintings, this one, to be precise.

I like this one. I think it's to do with the amount of space there is between the elements.  Space intrigues me... so I did a couple of versions of my own, to see if I could work out what it was I liked about it.

My version is pared back even further.  It has the feeling of a landscape....a Norfolk landscape, all sky and flatness.   And at that point, I thought, textile.  And transparent cloth.  And that's when it started going to hell in a handcart.  Because my selection of transparent cloth is fairly limited...so I went with what I had.  The top section of this is great...the bottom...bleh...

Meet Blue Moon.  The top is a small piece of hand dyed silk organza, and that works pretty well. The bottom is also hand dyed silk, and looked okay before I applied it, when there was light coming through it....but it's just Too Dark.  The piece of ribbon and the stitch I added doesn't help, nor did the light coloured ribbon, or the silver paint I daubed it with, in the hope of making it just a bit lighter...sigh.

So that's what I'm unpicking.  I have absolutely no idea what I'll add in its place, but I do know it mustn't be dark.  I think I might hand paint some silk organza to use; I may not have that much of a selection of finished cloth, but I do have some silk for dyeing.  And we'll see how that goes.  Sadly, I can't remove the silver paint from the white cloth, so that, too needs to be thought through.  I also suspect that the square format  it's in isn't doing it any favours; it messes up the balance of the two elements... plenty of space, but in the wrong places (yes, it's a napkin...I use them for sketches).  It's a sketch; that's what it's for, of course, but I don't usually misjudge quite so badly.  Hey ho...onwards and upwards...

Back To Work...

...after a couple of difficult weeks.  Remember the watercolour book?   Well...because I had coloured the reverse of that with transfer dyes, I was able to create another, similar book...

This time, I've stitched the coloured side with normal weight thread, while the reverse has the heavier, Decora thread.  You can just pick up the stitching, I think...it's not particularly intense, by my standards.  I find the individual pages interesting; here they are as individuals, to let you see clearly how each of them stands alone as a landscape...landscapes within landscapes, if you like.

I suspect I'll add quite a bit more stitch, but this is all I could manage today.  I haven't taken pictures of the reverse, which, of course, is white with stitch.  I haven't yet decided what to do with it.  Paint is an option, of course, but so are applique and collage.  Plus, I could add significantly more stitch, obviating the need to add more colour (I think...).

I think the title of this might be 'Red Sky At Night', because the rhyme keeps running through my head...but we'll have to see.  Things might change as the piece progresses.  They usually do.

Another One Bites The Dust...

another hand made book, that is (hands up everyone who now has Freddie Mercury's dulcet tones in their ears...?).  Here is the reverse side of the purple watercolour landscape book, finally finished.

As a comparison, here's the front...

They're similar, but by no means identical.  If you look closely, you'll see the stitching on both sides.  Of course, the reverse side doesn't have the heavier thread, but it doesn't seem to have lost anything as a result.  I'd like to say it was carefully designed to fit the stitch...but it wasn't...   I'm pleased with it.  Will I add text?  Possibly.  I need to think about it, look at the piece for a while, see what suggests itself.  Writing, for me, is just the same as art making...it's fairly spontaneous, but also fairly focused. 

As you'll recall, the colour for the reverse side was transfer dye, and that means that I could get a minimum of three, and up to five (if I'm lucky) prints from the same piece of painted paper.  So I happened to have another piece of Lutradur XL cut and ready to make into a book, so it seemed reasonable to turn that into another purple landscape piece.

The colours here are more intense; that's because I ironed them on longer.  The amount of pressure and the length of time you iron a piece will affect the intensity of the colour transferred on the cloth.  I deliberately made the first of the transferred images relatively light, to reflect the tones on the painted side of the book, but this one, I wanted to be stronger.  I contemplated simply ironing onto the reverse, but decided that I was too tired, and that it would be much more interesting to add paint on the reverse, so that's for another day.  Two for the price of one...always a good deal.  Well, okay, one and a half...but who's counting...

It's Amazing...

...how much more energy I have if I don't fiddle about with a computer...  Someone cut a BT cable during some work, plunging Bo'ness and Linlithgow into internet darkness for a day and a bit.  So...I started to develop some new work (of which more anon) and existing work, namely the watercolour landscape I spoke of last time . 

I started by folding the book, so that I could see how each 'page' worked.  As it turned out, it also made the piece easier to handle with the sewing machine, as I could fold and unfold as I went along.  I'm happy enough with the colour and structure ... now, it needed stitch.

I started with some variegated cotton, in purples: it doesn't show up all that well in the main image, but you can see it nicely in the detail.

I wanted some sort of contrast, some heavier thread, so raked out some Madeira Decora, which I put in the bobbin.  I haven't used it in a very long time, and  struggled with it, somewhat...but decided to leave some of the catches in the stitching as they were, added texture ( she said firmly)...

Not necessarily a good decision...but I don't want to run the risk of redoing the stitch, and missing the original holes... so it's going to stay as it is.  So, as I say, not necessarily a good decision, but the best I can make in the circumstances.  I've kept it very, very simple.  I don't feel the need to add more stitch.  I had contemplated adding some applique...but I think that would be overkill.  A poem, perhaps, but no more visual imagery, I think there's enough going on as it is.  It's interesting to swap between the individual landscapes, as designated by the folds that make up the pages, and the entire landscape, across them all.  Anything else would be distracting.

Being a book, of course, this isn't the only side that's important.  The reverse needs to have treatment, too...  Some of the watercolour has leaked through, so the choice of colour is already made for me.

Why?  Because whatever I add, the watercolour would mix with it.  And, on reflection, I don't want the colour on the other side to shift at all...so I need to add dry colour, rather than wet. That rules out conventional paint of any kind.  I could fuse on fabric, but then I would lose the stitch, and I want to retain that.  So... I painted up a piece of paper with transfer dyes in these colours.  That monoprint I showed you was on a large piece of paper, and there was enough room on it to colour a piece for dye transfer, so that I was sure that it was both deep and wide enough to cover the entire strip. 

So far so good... now all I have to do is iron on the colour...

This wasn't the only piece I worked on yesterday... I went on and painted more paper, as I had the paints out anyway... printed with some bubblewrap...  and I designed and stitched another piece... and then had to lie down... but hey, I had fun.  More anon.

Watercolour...

...isn't something I've worked with in a long time, but playing with Cara using Granny's Magic Crayons at the weekend inspired me to try them out on Lutradur XL.  I'm not a huge fan of acrylic on lutradur, because, unless it is thinned down to the nth degree, it blocks the little holes, which give it its transparency, in my view, its greatest asset.  Besides, it does unpleasant things to the hand of fabric, and I'm not overly keen on stitching through it.  By and large, I stick with transfer dyes for lutradur, because they do none of these things, and were designed specifically for colouring polyester.  But hey, a girl can try other things... and it's tiring, by my standards, to work with transfer dyes, because they have to be painted onto fabric, then ironed on.  Great results, and fixed, to boot...but needs must when the devil drives. 

So...I wetted out the lutradur with clear water, and started adding colour direct, mixing it on the cloth.  I chose red because there was some red dye already at the corner of the lutradur, so I wanted to work with that; watercolour wouldn't have covered it up, of course, being transparent.  The risk of doing that is that you don't like what you get... and I didn't... so I took a monoprint of sorts from the wet paint. 

I didn't bother to unscrunch the paper, hence the white tree shape to the left hand side, and the crackle texture of the print in general, which I rather like.  It got rid of a fair amount of the paint, and I was able to continue...and finally made this...

This was taken while it was still wet; it will dry slightly paler, but hopefully not too much.  I'm planning to add another wash to the reverse side, so that this can become a book after stitching.  No, you're right, it's not particularly interesting at this point...but it has lots of room for stitch...and possibly some applique... we'll see.  I then went on and played a bit more with a block of lino and some paint, to make a selection of monoprints.  I don't have enough energy for lino cutting, so that seemed to be the best way of using the block...

I did some prints on paper, some on lutradur, the last image is the one I like best, but, like the painting, it has plenty of room for stitch.  Should keep me out of mischief for a while...