From Byopia Press: How To Make A Heart Bookmark

https://byopiapress.wordpress.com/2016/02/07/how-to-make-a-heart-bookmark/

Dear Threadborne followers and readers, 

Welcome all! And may I extend new year greetings to you, even if it is already February. My first post of the year is a reblog from Cathryn at Byopia Press. Cathryn tells us how to make some sweet things for Valentine’s Day. You will find some really interesting stuff there, especially about the Book Arts.

 I’m unable to give time to new work of my own right now because my Beloved is very ill with adrenal cancer and requires a lot of care at home.I hope I will be able to post better news about Shlomo next month. If you are praying folk, do please spare a prayer for us. 

You know I love to make and write about my passions but for a while, I will perhaps concentrate  on fattening up some of those skinny pages on the menu bar above since I cannot get my head into artmaking just yet. The writing will be my art therapy. 

Having said that, I have to tell you that Shlomo, despite all,  not only got his head into making art, but his hands, too. Today, he and Dylan our 6 year old grandson, made a three-branched candleabra. A fitting oeuvre for the week past in which Candelmas was celebrated.  Sorry for the  blurry pic – first time doing that with the iPad camera into a post. 

A la prochaine, mes amis/amies

Wendy

 

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” Twas on the moon of wintertime…

…when all the birds had fled” , sings the Huron Christmas carol. Indeed, the birdies have fled:

 

Blogging today from my husband's room on the fifth floor of a local hospital where he has been since Christmas Eve as the medics sort some health issues. So I have plenty of time at my disposal to work on organising photos for one last post before the new year comes in.

December has been Artist Book month in my studio. A workshop on sewn board bindings with Archives Canada conservator, Lynn Curry; some “Use Up These Prints” books made from studio gleanings; and some little books made from the grandchildren's art papers. Outside in The Kaleyard, autumn said a long and languishing “Goodbye”, delivering temperatures as high as 15C last week! A crazy, green Christmas – but it will be a sober, white New Year's Eve.

So first, goodbye to fall and the statuesque kale: lovely textures and colour with grey Lamb's Ears and blue-grey sage.

 

First dusting of snow:

 

In the kitchen, thoughts turn to cranberry chutney, companion to the seasonal turkey: cranberries with half and half Marsala and blackcurrant syrup to cover; fresh rosemary and bay (from indoor plants); and a generous heap of fresh gràted ginger; boiled to the stage of setting. Good with anything.

 

In the workshop ( later, I made more such bindings at home in the studio) the sewn boards binding which produces an elegant raised spine and encourages the use of contrasting coverings of paper or cloth:

 

 

The spine is free of the boards at the head and tail and all along the edges. So the book can flex and lie flat nicely.

 

I made others at home with more of my handmade linen book cloth that I had printed earlier in the year with rust and indigo:

 

 

Note the separate spine pieces:

 

The text block is coptic sewn then glued and placed under weight ( wood boards with a covered brick on top)

 

Other little playthings made this month: an indigo printed single sheet of watercolour paper folded and cut into a book structure; and my monthly “Magnificat” mass book folded into a sculpture ( one of several made so far)

 

A delightful piece evolved from one of six-year old Dylan's paintings that has artwork on both back and front. We cut up the artwork into two strips, accordion folded the strips, taped them together to make a longer accordion, then found a figure in the brushstrokes and outlined it in black pen. We tore the top edges and “gilded” them with metallic paint.

The back of the piece is also evocative.

 

I have saved many works on paper done over the years by my children and grandchildren. And they do tend to accumulate ( art papers as well as kids…) Why leave them in a box? (Not the kids…) Hence the idea this Christmas season to use the kids's art as material and content for Artist Books.

A few sheets of humble newsprint, painted by the grandkids with kids' acrylics a few summers ago, were next coated with Liquitex matte medium (three layers). These were to provide the books' covers. Following that, all kinds of papers were assembled to make up the signatures: saved scraps of all sorts, small print sample off-cuts or proofs, handmade papers…whatever gave strong interest and variety in texture, colour, print design, technique etc. I made four books, one for each grandchild, with each book containing between 15 and 20 signatures consisting of at least four folios of various sizes held by guard strips which allow for attaching more pages later. A major goal was to include signatures with expandable pages – fold-outs or accordions, for example. The signatures were handsewn into the spine with long stitch binding; the covers were sewn along the cover edges with machine stitching: a cloth pocket with flap was sewn into the both back and front inside covers. The pics:

The art work to make the covers:

Signature samples with guard strips for eventual additions of pages:

Page and fold-out signature samples:

 

 

The collection:

 

Some printed samples:

 

The longstitch binding (Note the fragility of the newsprint for stitching…layer on lots of medium)

 

The finsihed books, ready to receive more art on any and every page:

 

Last little piece: a canvas cover for a book. acrylic painted:

 

The spine of the canvas cover book (long stitch over tapes) and another canvas book cover, soon to be sewn:

 

Happy new year in art and life to all. Thank you to all the new readers for joining us.

 

Wendy

 

Posted in artist books, children's art, longstitch binding, Magnificat | Tagged , | 18 Comments

November Studio

It is the last day of November and the day of Saint Andrew, patron of Scotland ( Greece, too) and all Scots, even those like me from Orkney! Time to report on the month's art activities, though I will not be done writing before midnight Ottawa time; still, somewhere to the west of me it will still be Saint Andrew's Day.

But first, a goodbye to the colours of autumn in The Kaleyard, last seen in the early weeks of a milder-than-expected eleventh month:

Sumac and amelanchier:

Potted amaranth and kale:

A late assortment of fall colours, some from October:

The last one is the perennial geranium, a sturdy plant, green under the snow and trusty provider of colour in the eco print pot.

Here are some papers printed this month with geranium ( and cotinus)

A smaller geranium, greened by iron/rust in the dye pot:

…and cotinus: the little flecks of pink are lovely and most likely to show up at this time of the seasons.

Cotinus: Charcoaled by iron/rust neighbours in the bundle:

Geranium, two varieties, blackened and greened with iron/rust but still holding on to yellows:

As you might notice in the work of eco printers, yellow is a frequent colour. Some despair is possible.

But take heart, Dear Dyer. A solution is available from colour theory. ( As well as from some post- print tinkering- though not discussed here today – like touching up the colour with other dyes, paints or modifiers like iron liquor or copper liquor or ammonia. And no, post-print touching-up is not a ticketable offence according to me. You are the artist, and you get to do what you like with your art, especially in the establishing of your own purposes and the safe and rationale means of achieving them. )

Thus: To get the most of my yellows from season to season ( when they change value and even hue) I like to pair them with some strongly contrasting colours that can act as foils. In these prints, the contrasts come via rusty prints and cotinus; both leaves are tannin- rich that give deep charcoal or black in the environment of iron, and also some greens. Yellow and black are pretty powerful together.

And next, some more rust prints on paper, this time with indigo and tannins from tea: also powerful contrasts.

 

Winter wools are on my list of textiles for dyeing, and this year I am trying for that famous and popular ( but non-native hereabouts) eye-popping eucalyptus red introduced to us by our DownUnder Diva of Dyes, India Flint. I have a lot of dried euca around the studio saved from supermarket bouquets and welcome those Green Immigrants to the dye plant stash. Bundled with Prunus virginiana and immersed in a walnut dye bath ( Juglans nigra) prepared in a crockpot with the heat set to “low” and left overnight, some of my wool fragements look like this:

Don't the colours look familiar?

The prunus gave the teal greens and even purple, while the euca gave ranges of reds and orange with a tad of yellow. Of course, the walnuts give rich brown on wool ( though much paler on linen) So here, we get the power of analagous colours in teams beside colour complements in the red and green.

 

My most recent project this month was with Dylan, my wee grandson, aged six. We have done lots of painting and stamping and so forth on big sheets of paper, using a very basic palette of cadmium yellow medium, cobalt blue and some kind of red (we lost control of the inventory – most likely the red was cad. red) plus a nice metallic gold. Those paintings mount up – kids are decisive and prolific painters and do not hang about obsessing over the next brushstroke as we adults might tend to do. i heartily recommend a session with a six year old to get you out of your Art Rut. Just try keep up with that kid! But what to do with all our paintings as they piled up?

I hit on a plan to keep the works but to make them easier to store and fun, too. We will make books and boxes, said I!

So we have been making books and boxes from each single sheet painting, working with origami-type folds and no glue. This is an ongoing project, so today I am sharing just a few. The first is a wee box made in the style of the compartments in the Chinese Thread And Needle Case that I completed earlier this year.

For this one, Dylan and I stamped the paper with wooden Oshiwa blocks ( also reported on my blog in the past) and carved Indian textile blocks:

Others we made from painted papers:

 

And a larger box from some of my above-described geranium-cotinus prints:

 

 

If you want to try these boxes yourself, keep the ratio of the paper three times the size of the finished box; thus, the 'Geranium' box started with an 18″ square piece of paper and folded down to six inches and a tad as a box.

Here are some pics of a box under construction, to refresh your memory for the folding sequences: as you can see, you need to fold the large square of paper into a nice grid. The centred square (fold) is the bottom of the box when all the folds are in place. Two boxes fit on top of each other to make one box with a lid.

 

 

Next time, some more art from the studio with my young apprentice, who, bye the bye, was able to anticipate the next fold in his box as we went along…so you can do it, too! And it's a good time of the year to make gift boxes!

i shall likely post again about the art- from-grandkids' paintings sooner than I might otherwise do – I am grounded this week after a wee bit of surgery to my foot! But the mind keeps travelling, Dear Reader…and the hands can still move.

The blessings of Saint Andrew's Day on ya'all!

 

Wendy

 

Posted in artist books, artist's studio, children's art, Chinese Thread Book, dye plants, eco prints on paper, kaleyard, Miao thread and needle case, Rust Printing | Tagged , , , , , , | 3 Comments

A Marginally Noted Man

Dear blog readers!

Today, something really exciting but not about eco printing! instead, I have invited my friend, Anne Shmelzer tell us about her first novel.

My debut novel, A Marginally Noted Man – a tale that delves into the traumatizing past of a WWI veteran – is now published through Railway Creek Books Canada where it can be purchased in print or ebook formats on Amazon, Apple and Kobo by using the purchase links at railwaycreekbooks.ca. I am very honoured that the book has been endorsed by Col Rakesh Jetly, Chief Psychiatrist for the Canadian Armed Forces, who said:

“Anne Shmelzer displays an acute understanding of the warfare experience. She shines a light on the early emergence of PTSD and creates a vivid image of Will Nicol’s internal struggle to regain his mental health. From the battlefields of the Western Front to his reintegration into society, A Marginally Noted Mantakes us on an emotional journey that is difficult to put down. This is a great read!”

A Marginally Noted Man tells the story of Will Nicol who returns to Hastings County to rebuild his life after the horrific aftermath of war on the Western Front and to seek comfort in the arms of his widowed niece. With Leah by his side, Will attempts to banish the memories that have scarred his mind and body, and continue to plague him. But as he continues to struggle to reconcile his status as a war hero with the traumatizing memory that he can’t contain, Will soon realizes that to regain his sanity he must come to terms with the past. Together with his comrade-in-arms, Michael Isaacs, Will returns to the scene of a fateful mission to confront his guilt and unburden his mind.

I do hope you take the time to read A Marginally Noted Man and enjoy the story as much as I loved writing it. If you would be so inclined, please leave a note on Amazon, Kobo or Apple telling me what you thought. It would mean a great deal to me to see your review.

I would also like to invite you to my book signings, which are taking place:

I would love to see you there!

Thank you for reading and your support. And, please feel free to pass this email along to other friends and family who may be interested in reading A Marginally Noted Man or attending one of the book signings.

May we find Shalom, peace in our time.

Anne

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Mordants and Natural Dyeing, The Great Debate

Carrie Sundra of Alpenglow Yarns is the Voice of Reason on the safe use of mordants. . One’s choices are one’s own in the ecoprint endeavour, so by all means diverge from the science if you please. For myself, I am trying to gather the facts! More on that later. Jane Deane at FB The Wild Dyery brought this article to the attention of the dye community.

Alpenglow Yarn

I’ve thought about writing this post for a while. This topic, more than anything else in natural dyeing, brings up emotion and occasional controversy. My goal with this post is to present some facts, with references to reputable sources that you can check and read further. Natural dye books unfortunately tend to be bastions of misinformation, rife with generalities and opinions that are expressed as facts, and I do not consider the majority of them to be reputable sources of factual information about chemicals or chemistry.

I always kind of cringe when someone asks me about mordants and their toxicity.  It’s not because I’m reluctant to talk about it, it’s just that it’s a complex subject and I usually don’t have time at a show or in an interview to address the topic well.  It’s a difficult one to answer succinctly. That’s a big reason that I chose to write about it…

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At the Burrow DyeTable # Two: A Little Poke in the Night

Would love ya’all to read this exemplary post on how to dye with pokeberries. Thinking the ideas herein might work for elderberries, too. Dye divas everywhere, especially those at The Wild Dyery (FB) – would you like to take up th challenge? Thank you, Jean, at Grackleandsun

Grackle & Sun

Oh, my friends, have I been harvesting poke.  I’ve been harvesting poke for weeks.  Over hill, over dale, thorough bush, thorough brier, over park, over pale, thorough flood, thorough fire, I do wander everywhere… collecting all the pokeberries I can find.  Well, not all of them.  I left plenty for the songbirds.  Husband lent a handsome hand, as well, because he is all things good.  Happily, despite the drought this summer, there is many much poke.  It is glorious.

And for what do I gather these succulent little berries that cling in clusters on their pendulous racemes?  For dyeing, of course.  To make that dyer’s alchemy happen—to pull colour from one to put upon another.  Transference.  The dictionary defines alchemy as “any magical power or process of transmuting a common substance, usually of little value, into a substance of great value.”  If turning the often (but wrongly)…

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October Studio

September has passed in a blur of sun, studio-time and a mad race to prepare for the annual studio tour of two weekends. As I have spent most of the post-tour week cleaning up, it occurred to me that you, dear Reader, might like a peek at where I do most of my art work.

My studio is in the basement of our house and it comprises areas for sewing, cutting, painting, bookbinding, printing, dyeing, laundry, garden planning and the hoarding of art supplies, books , sewing machines, seeds and the kids' artwork, plus sentimental “bits and bobs” as the Brits say; and not to forget the occasional mouse… The floor lists dramatically to starboard ( or is it port?), the ceiling is less than eight feet (that's OK for me, though – I am nowadays less than five feet tall) and one needs the lights on at all times (daylight fluorescent bulbs). It will never be featured in that Spiffy Studio mag but it's real and it's a Place of My Own.

Especially it works for West, my studio assistant….he is grandson Dylan's marmalade kitty who stayed over a few days this week, dined on the mice, then pooed in the bathtub…When not sitting in my tool box, West was on my keyboard watching the scroll bar go up and down…

Please come in! The Ikea chest of drawers would not go up the stairs so, boo hoo, I had to keep In the studio it to store my eco dye stash…

Facing you in the above pic as you enter is the dye cupboard (half empty because the rest of th supplies are still outside at my outdoor summer dye station.)

Left of the open door at the entrance and in the foreground is the wet station (sink, dye vats and mordant baths) , printing and book binding area; straight ahead on the left at mid-ground is my cutting and general work table with the paper etc. cupboards nearby. On the back wall are the painting supplies and various new canvases etc. We sourced all the furniture and cupboards at Habitat for Humanity or at thrift stores.

A closer shot showing what's on my table this week: Some more eco prints to frame; a couple of bricks covered in paper to use as weights for flattening book pages. Plus my coffee, of course.

My sewing area with the Sacred Stash (of textiles, naturally). I like to arrange the textiles into small collections or WIP projects; I put the collections in labelled, see-through plastic boxes – easy to find and to shlep back and forth. The second chair is for the grandkids…

My toolbox: The needlecase was the VERY FIRST free motion project I did. I learned free motion stitching quite by accident one day – I somehow read the chapter on darning with the sewing machine and had an epiphany! (What If the engineer who wrote the sewing machine manual had written How to Make Art With Your Sewing Machine? In the next few posts I will be doing a little retrospective on my embroideries since I am hoping to be able to add to the older series. But that is for later.) Just now:

A box of paper and textiles offcuts, awaiting their new assignments as art material:

A mordant bath and an indigo vat ( plastic boxes work fine! )

On the Inspiration Shelf: work in progress – Artist Books that never got finished for the tour! They are to be coptic-bound.

Shlomo put up this sonnet by Shakespeare for me to read while doing the laundry:

Some other work that is still in progress and never made it to the tour:

Eco print with indigo on silk dupion

Indigo, rust and tannin prints on linen and cotton – also WIPs

A few more rust print WIPs:

 

“May Gardenista” on the work table, WIP:

My mass book “Magnificat” recycled as an altered book – almost 400 pages folded! The cover of the mass book beside it shows a work by Odilon Redon “The Flight Into Egypt” (Mary, Joseph and the Child Jesus, refugees, resting on the road). The colours in the painting are similar to the ones in “May Gardenista”” don't you think?

 

 

And now to show you some of what emerged from the studio in time for the studio tour this month:

 

 

 

The candleholders are by Shlomo who also participated in the tour with his metal art. They go well with the rust, tannin and indigo prints, I thought

 

Most of the work above is on paper or cloth dyed/printed with indigo, rust, plants and tannin.

Last pic:

I found this print when sorting stuff for the tour. I bought it many years ago and I cannot find the name of the painter. Does anyone recognise the work? It looks kind of Klee-ish. I had been in Canada only two years when I found it In the shop of the National Gallery of Canada, a repro of course. I felt it was something of a self-portrait, me wrapping myself in my British flag, missing my old home. And check her hippy headband.

 

Posted in artist books, artist's studio, book arts, indigo, Indigo dyeing, Magnificat, Odilon Redon, Rust dyeing, Rust Printing | Tagged , , , | 21 Comments