Teaching Tuesdays - masses of free machine embroidery!

Thank you for all who read their way down to the end of my last post - it was much longer than first anticipated! I hope you've enjoyed visiting the blogs I nominated (apologies in advance for the Google-suggested translation for a certain sentence in Ingrid's post - I have suggested an alternative to Mr Google, but he's ignored me so far!).

Right, where were we...free machining, I think!

In class we have been continuing to practice our free machining skills, now using free motion stitching to "colour in" - in small areas 

(and demonstrated far better than I could, by people like Linda Miller and Gina Ferrari, here and here)

but we've also used free machining to fill in, shade or add interest to larger areas:

(again, demonstrated far batter than I could, by people like Dionne Swift).

For stitching the small things, it is important to try and keep the stitches flowing, not too tiny, and with not too much overlapping - otherwise the background fabric gets tougher and tougher to stitch! Larger stitches also catch the light and glisten (particularly if you use machine embroidery rayon thread) and the glistening can help to disguise any missed bits! 

For stitching larger areas, it is also important to keep the stitches flowing - the key is to move the fabric (or hoop) smoothly and confidently, keep everything relaxed and smooooth....

Here's how we've got on with the small pieces (there are a lot of owls as I found some lovely ones just the right size to stitch on the Girl's violin music folder!)

Di (going off-piste with her redwork owl!)

Morag

Lyndsay

Owl in progress, but I can't remember who he belongs to! Sorry!

Libby (owl in progress)

Carole B (a robin in progress)

Carole H

Christine

and last but not least, Judith...I'm a bit concerned about this Russian doll, she seems to have got herself into a bit of fistycuffs...

Not everyone enjoyed working so small (and I must admit, I've not really done much of this intense, dense stitching - must be a reason!) Then again, the option to work bigger was a challenge as well! 

The idea I presented was to work in an abstract way, not worry about creating a picture, but just practice the stitching - keeping things flowing and smooth. I know not everyone is pleased with their results, but the point was not to create a pleasing composition but to practice the stitch! So I think all those who attempted this were very brave, to work in such an unstructured way:

Jill

Sorry - my brain has gone blank again and I can't remember whose this is!

Maggie

Lyndsay

Morag (the bottom sample was over-painted after stitching)

Kathy

So we are going to continue our free machining, but not the abstract work! Next time we will be using free machining to applique again (but in a slightly different way) and to construct backgrounds.

Until then!

The abstract introvert

(Is it me?!)

A trip on the train today to London to see this, also gave me the time to read some more of this book.  I thoroughly recommend them both!

reindeer bone



mammoth tusk...

I've come home with pages and pages of sketches in my little sketchbook, some interesting and inspiring thoughts about abstract art (something that's been noodling around in my head for a few weeks now anyway) mixed up with deep thoughts about the tricky business of being an introvert in an extrovert world.

I was brought up (a) in a largely extrovert family, and (b) with the understanding that work should be useful - and by useful I mean in a very obvious, tangible, practical way - e.g. being a doctor, scientist, teacher etc.  So it's only natural that I've always struggled with being (a) an introvert, and (b) someone who creates things.  See?  I can't even write "artist"!

So to see the evidence - that 40,000 years ago people were carving both abstract and realistic forms from mammoth tusks and bones - imagining things, ideas - and representing them using lines, dots, curves - well, that must make it OK to be someone who creates things.  Yes?

more mammoth...

The abstract thing?  I struggle with expressing myself, artistically.  Most of what I stitch is for teaching purposes, not self-expression.  Whenever I try doing something personal, I struggle because I keep trying to make pictures or useful things or recognisable things. 
But the big thing about this exhibition was to show that the abstract forms and decorations created thousands upon thousands of years ago are just like the abstract forms and decorations created now.  Alongside the carved mammoth tusks and reindeer bones were modern abstract sketches, paintings and sculptures. 

And I think I'm beginning to understand.  Some of the words in the exhibition described abstraction as requiring an "imaginative mind - to be able to symbolise and give meaning to form wtihout being realistic". 

So as well as it being OK to create things, it's OK to create things that might or might not look like recognisable things.  Yes?!

And finally the introversion thing.  Is it hard to be an artist and an introvert?  Is it because I like to keep my thoughts to myself that I find myself "stuck" with my art?  Is it an inability to express my innermost thoughts, a subconscious refusal to express my thoughts, or just that I have no thoughts worth expressing?!

And is it just part of being an introvert, that whenever I create something and put it "out there", I will then be wracked with self-doubt?  Do extrovert artists have an easier time of it?

If you don't know whether you're an introvert or extrovert, or what type of introvert/extrovert you are, have a go at this little quiz.  I love this stuff!