tag:blogger.com,1999:blog-72781750926181625632024-03-13T21:47:24.492-07:00In the studio at Agosia ArtsUnknownnoreply@blogger.comBlogger53125tag:blogger.com,1999:blog-7278175092618162563.post-77425251586123826712022-04-19T13:33:00.000-07:002022-04-19T13:33:12.217-07:00The Final Post (originally posted 9/28/16, edited 4/19/22)<p>Although this blog has been discontinued, I have synthesized and reorganized the most popular original content to make it easier to use. Posts covering similar topics have been condensed, but all important information, diagrams and photos have been retained. When a book (from a posted review) has stood the test of time for me, I've moved that information to the Bibliography. I have removed most of the descriptive tags, and searching by topic (see the sidebar) is much easier<br />
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I hope the blog continues to be a resource for textile artists and doll enthusiasts. As always, if you have questions, let me know. Thanks for visiting!</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-55560210992611926162016-08-31T17:32:00.001-07:002022-04-19T13:26:03.915-07:00<div class="separator" style="clear: both; text-align: center;">
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Over the past year, online visitation to Agosia Arts resources has changed considerably. Although hundreds of people visit the blog every month, many more visit the <a href="http://www.agosiaarts.com/">website</a>, <a href="https://www.facebook.com/pages/Agosia-Arts/232860360072338">Facebook page</a> and <a href="https://www.youtube.com/channel/UCC8IxWNj7BNzs4O254Crq2A">YouTube channel</a>. When I began the blog, my goal was to share my techniques with others and provide behind the scenes insight into my design process. Videos have quickly replaced blog posts in popularity. People don't have as much time to read and pour over diagrams, and prefer quick visuals shared occasionally on Facebook, and (now) daily on <a href="https://www.instagram.com/carmenalanatibbets/">Instagram.</a><br />
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It's time to say goodbye to the blog. I am committed to sharing my techniques and inspirations, but will shift my emphasis to other sources. As always, if you have questions, send them my way!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-36781859546220796932016-07-20T11:00:00.001-07:002022-04-19T13:16:20.374-07:00Creating the Basic Agosia Arts Doll Body: A Video SynopsisI've discussed drafting patterns and sewing bodies previously in the blog: <a href="http://agosiaarts.blogspot.com/2015/01/new-in-studio-small-rodents.html">New in the Studio: Small Rodents</a> - a description of trying out new patterns ; <a href="http://agosiaarts.blogspot.com/2010/08/basics.html">The Basics </a>- a description of button joints from way back in 2008. Since I've been posting on YouTube, I've received a few requests for a video about making cloth bodies. Well, here it is! As always, I welcome questions.<br />
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/bTlZNa0yJf8/0.jpg" src="https://www.youtube.com/embed/bTlZNa0yJf8?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-89748397065153278442016-07-11T13:10:00.001-07:002022-04-19T12:40:28.036-07:00What To Do When Your Roadrunner Needs To Lose Weight: Altering the Body Size of A Cloth FigureWhen making bodies for my cloth figures, I prefer using wool. There are many reasons for this; it has visual weight, is easy to sew by hand and provides wonderful texture. All fabrics have been prewashed and I purposefully try to felt wool to increase its density. Most fabrics are stable, but sometimes they behave in an unexpected manner.<br />
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This pair of roadrunners provides an example of a fabric surprise. Both birds are made from a variety of wools. The plaid used for the body of the right-hand bird is quite firm, with zero movement, but the brown herringbone on the left-hand bird stretched quite a bit during stuffing. As a result, the body and the neck are wider than they should be (see arrows at left) I could live with the body, but the neck needs to be altered. The head looks out of proportion on top of the thick neck. The heads are only pinned on at this point, so a fix is still an option.<br />
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What to do? I have already strung the joints and don't want to take the body apart or start over. Thankfully, the solution is simple - sew an afterthought dart directly into the stuffed body. The first step is to determine where to place the dart. In this case, I decided to run it up the back and neck, but it could go anywhere. I could have placed a few on either side of the neck and down the shoulders, which wouldn't be visible, but I decided to take in the body and neck at the same time.<br />
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The dart can be sewn at this point, but it is much easier to pin the dart in place first. You need strong pins and I prefer to use glass-headed pins, not T-pins, because they won't tangle in my thread. With your pin, take a tiny bite of fabric along one side of the dart. Reach across with the point of the pin and dig into the other side of the dart. Pivot the point down into the stuffing. This action will catch the fabric and pin the fold of fabric down.<br />
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Continue on with the pinning until the entire dart is in place. In this case, I took out about an inch of fabric. Slip stitch the seam with a strong thread. I use button thread. The dart slimmed the body a small amount but made a considerable difference in the appearance of the neck.<br />
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The head is pinned onto the neck again and the proportions look much better. Although the afterthought dart can solve many body shape problems, it is used to best affect when the body parts are made of firm fabrics.<br />
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Stay tuned...<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-85394996169483331072016-06-10T06:00:00.002-07:002022-04-19T13:35:02.234-07:00Beadwork On A Completed Garment<div class="separator" style="clear: both; text-align: center;">
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I've been using this garment as an example for the past few posts because it features a variety of embellishments. This post will cover the basics of beading (a video tutorial is in the works). I use beads on just about every figure I make and this post will cover my two more common techniques. The jacket is completed and beadwork is the last thing I add. Some people might add beads first, but I think this interferes too much with sewing on the machine. <br />
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The garment sections are lined and the lining (in this case, silk) is attached around the perimeter of each section. Any stitches attaching beads will be hidden by the lining, but I have to be careful to not catch the lining. Its kind a dance between fingers and fabric. With each change in position, I have to take care that the lining hangs loose behind the area I'm working. <br />
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For beads that are going to cover an area, like the center of these flowers, I will add beads no more than three at a time using a backstitch. I use either waxed upholstery thread (for larger beads) or Nymo (for small seed beads). I knot in the fabric after every other stitch of beadwork. I am not fond of couching because I
think it is a perfect way to lose a lot of beads at once. <br />
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I like to add picots of beads (small clusters of three beads) along the edge of garments. I use the same thread and stitches mentioned above, but often knot after each picot. On edges, I don't have to worry about stitches showing through to the
back because I have for layers of fabric here (this includes the seam
allowances). A common question is how to evenly space the beads. Everyone has a built-in ruler - their thumb! You can attach beads a thumbnail apart (easiest), but if you want a smaller distance, mark it on your thumbnail with a fine marker.<br />
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Next time I'll share a book review. Stay tuned... <br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-10076939341380412952016-05-30T06:00:00.001-07:002022-04-19T12:48:52.261-07:00Sewing Doll Sleeves For Maximal Movement <div class="separator" style="clear: both; text-align: center;">
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Adding sleeves to doll clothing requires some thought. If your dolls are not designed to move, sleeves can be sewn to the bodice as normal. If your doll has arms that are jointed at the shoulder, you probably want some level of movement to the sleeve. The problem with small garments is that they don't behave quite the same way as normal sized ones. Functional sleeves require more fabric than you would expect around the armscye and this extra fabric creates unattractive bulk on small bodices.The following technique is useful for dolls that are designed for different poses, but are still mainly display items. Dolls that are destined to become playthings require traditional clothing.<br />
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I never sew sleeves to the rest of the garment because this
almost always leads to a decrease in the range of movement for the arm. Usually a sewn-in sleeve restricts the arm to being raised only halfway, both front and back.
To address this issue, I separate the sleeve from the bodice completely. I've altered my patterns to include a bit of extra fabric along the
shoulder and armsyce of the bodice - this creates a tiny extension into the arm. The sleeve pattern has a larger than normal cap head to create a bit more fabric around the shoulder joint. Neither of these changes is detectable visually (visit my <a href="https://www.pinterest.com/agosiaarts/agosia-arts-figures/">Pinterest gallery </a>for a look at some of the garments), but provides necessary coverage to hide the seam area. The two garment sections are sewn and lined in my usual manner (<a href="http://agosiaarts.blogspot.com/2015/08/technique-tuesday-lining-doll-clothes.html">see previous post</a>). <br />
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To complete the garment, I sew a running stitch along the finished sleeve with
upholstery thread, slide the sleeve onto the arm and draw up the stitches
until the fit looks good. The sleeve is gathered around the shoulder joint, and ideally, the edges are tucked into the groove of the joint between the arm and body. The thread is tied off and buried in the arm. The arm is now covered, but able to move a full 360 degrees. The extra fabric along the armscye of the bodice covers the puckers from the gathering and it appears to be attached to the garment.<br />
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Some artists use this type of sleeve, but choose to add it to the arm before it is attached to the body. The joint connection of choice (often a button) is then visible on the outside of the sleeve. This look is quite appropriate for cloth figures leaning toward a folk style or where the artist wants to emphasize the joint.<br />
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As you can see, full range of movement is available in the shoulder. Usually, the sleeve moves along with the arm, and if the tension of the gathers is correct, there is no additional friction because of the extra layers of fabric between body parts.<br />
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An added benefit of this technique is that you don't need to fuss with sewing the small curves of the armscye. You can design your jackets and shirts to have separate sleeves with gentle curves. Less hassle and faster to sew.<br />
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Give the technique a try and let me know how it works.<br />
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Next post, beadwork! Stay tuned... Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-2746790417996294962016-05-20T06:00:00.001-07:002022-04-19T12:49:09.286-07:00The Basics of Embroidery for Doll ClothesOccasionally I will create an embroidered garment for one of my figures. Because the process takes some time, I don't do it very often. I'm currently working on a hummingbird figure and I always create lush floral garments for these dolls, so you get to see the basics from start to finish. The jacket will be sewn using <a href="http://agosiaarts.blogspot.com/2015/08/technique-tuesday-lining-doll-clothes.html">my usual technique</a>, but the stitching is completed before the clothing sections are sewn together. I'm not going to bore you with lengthy descriptions, but point out the features that might be helpful.<br />
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I'm using a green silk scrap and although it is quite sturdy, it is on the bias, so I decided to back it with a lightweight cotton. The added layer also adds a bit of padding and prevents the outlines of threads in the back from showing on the front. I chalk an outline of the garment sections onto the backing, then baste the layers together.<br />
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The basting stitches are barely visible from the front. This gives me an idea of the edges of the garment when I'm placing motifs - I don't want to get too close and sew through something later. Chalk marks indicate stems and leaves to be stitched in perle cotton. I do not use a hoop, I just hold the cloth in my hands and don't pull the thread too tight. This takes practice, but is easier and faster for me.<br />
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the chalk comes off easily. In fact, I have a hard time keeping it on
through the stitching process.<br />
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Flowers look best when randomly placed throughout a design. It is important to point out the randomness is not the same as evenness. Most people want to distribute flowers evenly, but this never looks natural. To simulate randomness, I get a handful of buttons, close my eyes, and toss them onto the fabric. <br />
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I mark the position of each button in chalk. Some flowers will be placed over greenery I've already stitched, but that's fine.<br />
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After stitching the tubular flowers, I repeat the button toss for placement of some daisy-type flowers. Again, some of these flowers might be placed on top of previous stitching. <br />
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<a href="https://2.bp.blogspot.com/-oZl___5Y2lc/VzNwPR7lhAI/AAAAAAAACHk/Uxxzdepa_hUo1auPDdWTHQ4UBOgkkEbfACLcB/s1600/hummembroidery9.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://2.bp.blogspot.com/-oZl___5Y2lc/VzNwPR7lhAI/AAAAAAAACHk/Uxxzdepa_hUo1auPDdWTHQ4UBOgkkEbfACLcB/s200/hummembroidery9.jpg" width="200" /></a>The daisys have beaded centers and I decided to complete most of that beadwork now, before the garment is completed. I avoid beadwork in flowers that lie close to seamlines because the beads may interfere with my sewing machine presser foot. These flowers will be completed after the garment is sewn. <br />
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I lined the garment sections in blue silk. Shown here is a front section sewn and turned, but not yet pressed. The back section has been sewn, but not yet turned. You can see the usual meshwork of threads and knots, but this will never be visible and will be kept safe from wear by the blue silk lining. <br />
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Next up, continuing the beadwork on this garment. Stay tuned...Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7278175092618162563.post-6961977893855161942016-03-30T06:00:00.001-07:002022-04-19T12:42:22.597-07:00How to Make Bird Beaks for Cloth Dolls: Leather and Foam vs. Polymer ClayThose of you familiar with my work know I make a lot of birds. Until recently, the beaks for this type of artwork was made from closed-cell foam covered with leather (<a href="http://agosiaarts.blogspot.com/2010/09/birds-eye-view.html">described in this old post</a>). This is a useful technique, but has some drawbacks. I've shown all the details of the process in my second video about bird heads:<br />
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Although leather creates a realistically textured beak, the downside of the material is that some shapes are difficult to do well. For years, not wanted to try alternatives, I would work with leather anyway and end up dissatisfied with the result. Artworks that don't meet my standard usually end up in in storage because I don't feel comfortable selling them. Finally, the number of misfits reached critical mass, and I decided I needed a new method. After some experimentation with polymer clay, I settled on a variation of my usual techniques. Some examples of leather vs. polymer are shown below:<br />
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<a href="http://1.bp.blogspot.com/-tPelFwqG6kw/VpbmLiHSLyI/AAAAAAAAB_o/5tN5-c4RYgU/s1600/polymerbeaks1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://1.bp.blogspot.com/-tPelFwqG6kw/VpbmLiHSLyI/AAAAAAAAB_o/5tN5-c4RYgU/s200/polymerbeaks1.jpg" width="200" /></a>A few years ago, I made a series of cranes. Some turned out fine, but others had huge beaks. I removed the heads from the figures and started over. The new beaks are much thinner and in better proportion to the head and the rest of the body (not shown). Narrow, long beaks are clearly easier to make and look much better using polymer clay. One consideration however, is that long polymer beaks tend to be heavier. <br />
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<a href="http://4.bp.blogspot.com/-Ni2CitH6yf0/VpbmS7rAEMI/AAAAAAAAB_0/U93BXsG3dGk/s1600/polymerbeaks3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://4.bp.blogspot.com/-Ni2CitH6yf0/VpbmS7rAEMI/AAAAAAAAB_0/U93BXsG3dGk/s200/polymerbeaks3.jpg" width="200" /></a>It is nearly impossible to make a thin, sturdy foam beak. This duck's head is a good example of the problem. Even with the thinnest leather covering, the multiple layers required results in an appendage too thick and unrealistic looking. When I made a polymer beak and recreated the head, the improvement was immediate.<br />
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<a href="http://2.bp.blogspot.com/-P2gYkgVfm2I/VpbmcJCtvNI/AAAAAAAACAM/3p4alGYoWSE/s1600/polymerbeaks2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://2.bp.blogspot.com/-P2gYkgVfm2I/VpbmcJCtvNI/AAAAAAAACAM/3p4alGYoWSE/s200/polymerbeaks2.jpg" width="200" /></a><a href="http://1.bp.blogspot.com/-4c14yXmR4pY/VpbmX16tZMI/AAAAAAAACAA/euOds9kKRC8/s1600/polymerbeaks2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><br />
The last example is a Western Bluebird. The new polymer beak is much smaller and the head a more realistic shape. In this instance I didn't make a new head because of the beak alone. The original head looks pretty good, but was too small for the body. I made a new head with a correctly sized, polymer beak. The final result looks much better to my eye.<br />
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So, how do I make polymer clay beaks? The process is shown in my third video on bird heads:<br />
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Hope you learned something new. Stay tuned til next time...Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-61862837715047036062016-03-21T06:00:00.001-07:002022-04-19T12:42:43.261-07:00Creating Bird Beaks for Cloth Dolls with Polymer Clay<br />
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<tr><td class="tr-caption" style="text-align: center;">A hummingbird beak in process.</td></tr>
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I recently finished making a batch of beaks for some new bird figures. I've switched from leather (visit this <a href="http://agosiaarts.blogspot.com/2010/09/birds-eye-view.html">blog tutorial</a> or <a href="https://www.youtube.com/watch?v=eJWorug8ZCg">YouTube video</a>) over to polymer clay because it works better for slender and small beaks, both of which I do more often now. The interior is made from wire and aluminum foil for strength and only the exterior is clay.<br />
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<tr><td class="tr-caption" style="text-align: center;">Making an owl beak.</td></tr>
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I wish the process was faster, but I still have to take some time to sculpt the basic shape, cover it with clay, then add the final "skin." Because birds have very different shapes and sizes of beaks, and I'm usually working on many species at once, it is impossible to use a mold. I also have to mix clay to get an appropriate color for each individual. Often males and females have different coloration, so even if the two beaks are similar in shape, I still have to work clay for two batches.<br />
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<a href="https://1.bp.blogspot.com/-sDW6tsgUfdk/Vun9KPpelUI/AAAAAAAACEc/YYkl1us8amsuQASztJs2g6pJ9YwwmeNMw/s1600/polymerclaybeaks3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="151" src="https://1.bp.blogspot.com/-sDW6tsgUfdk/Vun9KPpelUI/AAAAAAAACEc/YYkl1us8amsuQASztJs2g6pJ9YwwmeNMw/s200/polymerclaybeaks3.jpg" width="200" /></a>As you can see here, I bake as many beaks as I can at one time. This represents a lot of future work and I may not finish all these dolls at once. I tend to get tired of working on so many birds at one time. On the tray here I have beaks for three cardinals, a jay, a hummingbird, three owls and a set of six woodpeckers!<br />
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If you'd like to see the basic technique, watch the video:<br />
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Stay tuned for more...Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-41078173126999556262016-02-19T06:00:00.001-08:002022-04-19T12:43:16.044-07:00Book Review: Red and White Quilts: Infinite Variety<div class="separator" style="clear: both; text-align: center;">
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I was very lucky to receive a copy of <b><i><a href="http://shop.folkartmuseum.org/collections/books-media/products/infinite-variety-hard-cover">Red & White Quilts: Infinite Variety</a></i></b> for Christmas. I've been slowly absorbing it's riches over the past weeks and have spent many happy hours in the wordless pages. What a treat! The book is essentially a catalog of the show, which entered the collective consciousness of the quilt and art world in 2011. <b><a href="http://folkartmuseum.org/exhibitions/infinite-variety-three-centuries-of-red-and-white-quilts/">Infinite Variety</a></b> showcased the private collection of Joanna S. Rose, who focused entirely on red and white quilts. An online search reveals a few images of the display system (which is amazing) and the exhibit from a distance, along with a frustratingly small sample of quilts.<br />
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For years, YEARS, quilt lovers have been clamoring for two things: 1) more information about the quilts and 2) the exhibit to travel. Well, we have part of the first in this book. A few pages are dedicated to a history of the exhibit, it's technical aspects, and a history of red and white quilts. Following those are stunning photos of the exhibit itself. The remainder of the book is dedicated to the quilts, all 653 of them.<br />
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As pointed out by the curators, Elizabeth Warren and Maggi Gordon, placing quilts into categories can be a challenge. Names of patterns are flexible, so what I may know as Delectable Mountain is called something else by another. Some quilters used settings that are unusual, placing their quilt into a category we wouldn't use today. Dating was also an issue. Most of the quilts were not signed, so there is a frustrating lack of information to go with the images. Because of the cloth used, most of the quilts were dated to the period between 1880 and 1920. But for all the information that isn't available, the reader/viewer is not left lacking. The quilts speak for themselves.<br />
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After spending so much time with this book, I tried to narrow my favorites to a few special quilts - crazy, I know. The book is full of stunners- beautiful and complex artworks. I realize, though, that I am drawn to the odd quilts, the ones that leave you wondering. An example is the Ocean Waves quilt with the gold blocks, shown above at right. Did the quilter run out of red? Was this a different kind of cloth that has since faded? Was this artistic expression, or just a way to get the quilt finished. We'll never know.<br />
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I fell in love with an Eight Point star quilt that, at first glance, is quite plain. The stars are large (I calculate over 16") and the quilting is a simple, allover cross-hatch. But then, there are these white circles appliqued in the center of the stars. Just a tiny change and this becomes a very different quilt. I can't take my eyes off it.<br />
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I have never been a fan of Lone Star quilts. To me they are predictable and dull. I know the block is tricky to piece, and I appreciate the endeavors of others, but I would never have one of these quilts in my home. However, I would make an exception for the wacky 16 pointed Lone Star in the Rose Collection. This eye-popper has me perplexed! For some reason the quilter lopped off the top and bottom of those respective points. The "star" looks skewed and stretched, and you think the quilt should be a rectangle, but somehow it manages to remain square. And so many points! Your eye just goes around and around and around. Oh, I love this one.<br />
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From a quilt designers point of view, this book is a valuable resource. Ms. Rose bought what she liked, not paying any attention to what she already had, or perceived gaps in her collection. The result is many variations of a particular design. You would think over ten Drunkard's Path quilts would be pretty similar, but no, each is unique and has something to teach about scale, pattern and texture. I had to look carefully to detect what made this example different from its neighbors. No longer a quarter circle, the shallower curve used in this block would be easier to sew, but more importantly, the change of shape gives the overall pattern a "swing" missing in a typical Drunkard's Path.<br />
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This is an excellent book, highly recommended for quilters and art lovers alike. As for the exhibit traveling to other venues, there is a hint in the book that there are efforts being made to realize the dream. Until then, we finally have pictures of the quilts. We'll have to be content with that.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-41145524706803774952015-11-17T08:00:00.001-08:002022-04-19T12:44:03.630-07:00Technique Tuesday: Creating Bird Heads, Part 1<div class="separator" style="clear: both; text-align: center;">
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I've posted, both on the blog and YouTube, the basic steps to creating the heads of my dolls. For example,<a href="http://agosiaarts.blogspot.com/2010/09/birds-eye-view.html"> in this post from 2010</a>, I describe the process from design to completion for a Tundra Swan. The simplest of bird heads, believe it or not, is a Vulture, and I gave a brief rundown on the steps about a year ago <a href="http://agosiaarts.blogspot.com/2014/12/technique-tuesday-making-vulture-head.html">in this post</a>.<br />
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Mammals are pretty easy, just layers and layers of felt to get the shape I want. Birds also have unique head conformations, but the main difficulty is due to the beak. Each species requires a unique shape and sculpting the beak takes a lot of time. But before I delve into that topic, I thought I would show you how each head begins with a layer of wool around a finished beak. My latest YouTube video covers the basics of the bird head, and this video, along with my previous <a href="https://www.youtube.com/watch?v=Z7ywgl7YK28">video about animal heads </a>gives you a good foundation for trying this technique yourself.<br />
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In the next two weeks I'll share videos describing how I make the beaks for my birds. Stay tuned... Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-14274989062249146362015-11-09T08:00:00.001-08:002022-04-19T12:44:25.793-07:00Book Review: A Field Guide to Fabric DesignI am a fabric lover. I used to buy <u>a lot</u> of fabric, both for sewing clothes and for quilting. Something happened though. About 15 years ago, I became really tired of the fabrics out there. Quality declined and nothing looked or felt good. For quilting, I turned to my own hand-dyes and now focus entirely on recycled clothing. For sewing, I either recycle or only use solid colors. Lots of solids.<br />
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In these heady of days of online assisted DIY, fabriholics now have the option of designing their own fabrics. Why wait for what you want to become fashionable? No need to sift through websites or drive all over town. Just make what you want.<br />
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I touched my toe into the pool when I used <a href="http://www.spoonflower.com/welcome">Spoonflower</a> to create my booth backdrops (see <a href="http://agosiaarts.blogspot.com/2015/08/the-difficulties-of-editing-art-fair.html">this post </a>for more info). I was so pleased by the result (quality and appearance), that I am now designing fabrics that I want to wear. <br />
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For those who are curious, <a href="http://www.amazon.com/Field-Guide-Fabric-Design-Traditional/dp/1607053551/ref=sr_1_1?ie=UTF8&qid=1446662620&sr=8-1&keywords=a+field+guide+to+fabric+design"><i>A Field Guide to Fabric Design</i> by Kimberly Kight</a> is a great place to start. She provides plenty of information for people doing things entirely by hand (pen&ink, screenprinting, etc) and those who work with computers. Also covered are good explanations of copyright issues, color theory and types of digital printing. In each chapter there are short interviews of fabric designers from all parts of the industry. The explanations of types of design repeats will give helpful insight to anyone who sews with prints.<br />
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My process is to have images (drawings, photos, watercolors) and collage and alter them in Photoshop. Once in that program, I can create files that are ready to upload right to the website. It really is pretty simple and straight-forward. Even if you are doing all your designing by hand, info from the book, plus that from your chosen online printing service will answer just about any question you might have with the technical aspects of the process.<br />
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The most difficult part of designing fabric is creating an image you like and that looks good. Design and color basics are explained with plenty of step-by-step tutorials and examples. The book does have a strong emphasis on computer skills and the author assumes that you know how to use Photoshop and Illustrator. Realistically, use of a scanner and photo-editing program is pretty much essential for proofing and editing designs and setting up correct file sizes and resolutions.<br />
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This book is recommended for anyone who sews and thinks about prints in fabrics or paper. If you are thinking about trying your hand at design, this is a good place to start. And don't be limited to the textile world. All of the principles discussed here apply to any 2-D design and most online printing bureaus offer paper products as well.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-38787003916482410952015-09-21T08:00:00.001-07:002022-04-19T12:44:52.178-07:00Technique Tuesday: Turn Of The Cloth, Why Does It Matter?<div class="separator" style="clear: both; text-align: center;">
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This post is here to remind you (and me) of two things: 1) pay attention to the lessons of experienced sewers and 2) just pay attention! In two previous posts, I described the basic process by which I make clothing for my dolls (<a href="http://agosiaarts.blogspot.com/2015/04/technique-tuesday-lining-doll-clothes.html">Part 1</a> and <a href="http://agosiaarts.blogspot.com/2015/08/technique-tuesday-lining-doll-clothes.html">Part 2</a>). It is fairly straightforward and is easy as long as I am using lightweight cloth. The weight is important because of an issue called turn of the cloth. The concept used to be taught (and I thought I learned it...) to impress upon the sewer than cloth in a seam takes up space. This becomes very important when you are sewing close seams, turning components right side out, and pressing items flat. Think about sewing a collar - denim is going to be more difficult than shirting fabric.<br />
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So, what can go wrong? When you are working with tiny garments, a lot can go wrong. I ran into all possible problems a while back when making a set of 10 small figures. I was in robo-sew mode, went into the studio, chose a bunch of fabrics and sewed everything together to make clothes.<br />
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I didn't discover my mistake until I started turning the garments right side out. I had chosen corduroy and wool as exterior fabrics and a loosely woven silk to line it. A deadly combo: thick plus delicate = disaster. I couldn't turn the garments and I was ripping the lining fabric. I was ticked, but didn't want to give up on all 10 garments. After wrestling with the tiny coats, I gave up and cut through everything at the shoulder. The next problem to solve was how to seam the shoulder area quickly and cleanly.<br />
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<a href="http://1.bp.blogspot.com/-bLmem9SdmGc/VeZNK6Ztr1I/AAAAAAAAB8M/r-lI51WJt2c/s1600/TurnOfTheCloth%2B%25282%2529.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="http://1.bp.blogspot.com/-bLmem9SdmGc/VeZNK6Ztr1I/AAAAAAAAB8M/r-lI51WJt2c/s200/TurnOfTheCloth%2B%25282%2529.jpg" width="200" /></a>All the fabrics were fraying, so I was losing length. The pattern was not designed for overlap or a seam at the this place, so if I added a seam, the armholes would be too small. I decided to butt the joins and whipstitch them front and back.<br />
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I couldn't leave the shoulder seam looking like that, so I decided to glue an epaulet-like segment over the seam, top and bottom. Well, that didn't look so great (raw edges) so I whipstitched the edges to the garment and added a seed bead with each stitch. Stronger and more attractive.You can see the final result at the top of he post. <br />
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BUT, if I had been paying attention to what I was doing and remembered my sewing lessons from years ago, I wouldn't have to have gone through the whole process with 10 little coats. Lesson to remember: when sewing tiny things, use lightweight fabrics. Maybe medium weight. Corduroy? Not a good idea...<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-8930384681723801022015-08-25T13:51:00.001-07:002022-04-19T12:45:25.935-07:00Technique Tuesday: Lining Doll Clothes, Part 2<a href="http://3.bp.blogspot.com/-9LMYmQmoxXM/VdY9CaX2KVI/AAAAAAAAB60/EOvYh-EqDco/s1600/P3303739.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-9LMYmQmoxXM/VdY9CaX2KVI/AAAAAAAAB60/EOvYh-EqDco/s200/P3303739.jpg" width="150" /></a><a href="http://agosiaarts.blogspot.com/2015/04/technique-tuesday-lining-doll-clothes.html">In a previous post</a> I discussed how I create patterns for clothing. Today, I'll cover how I actually make the clothes. This technique may or may not work for you. It depends on the size, purpose and complexity of your doll and its clothes. Over the years, I've used this technique because it is relatively easy, fast and creates a clean finish inside and out. It works well for costumes for small dolls (I use this for Barbie-sized clothes), but the clothes shown here are for my standard size figure - about 20 inches high.<br />
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<a href="http://3.bp.blogspot.com/-ZDpUrox55Ew/VdY64psj-eI/AAAAAAAAB6E/QPsfzqcYd3E/s1600/LiningClothes2_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="http://3.bp.blogspot.com/-ZDpUrox55Ew/VdY64psj-eI/AAAAAAAAB6E/QPsfzqcYd3E/s200/LiningClothes2_1.jpg" width="200" /></a> The first step is to layer your main fabric right sides together with your lining fabric. I tend to use medium weight fashion fabrics (linens) and thin linings (lightweight silks). You can use two light or medium weight fabrics ,but don't use two heavyweights; you will have a difficult time turning garment sections. Lay your pattern pieces onto the fabrics and trace around with a marking device of your choice. I usually use a Sharpie and choose to mark on the thicker fabric. Sew on the lines, leaving a small section unsewn. My patterns are designed to leave the shoulder area open.<br />
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<a href="http://2.bp.blogspot.com/-brbLvhOA8Rw/VdY64onpMfI/AAAAAAAAB6o/TaPNUaILI94/s1600/LiningClothes2_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="http://2.bp.blogspot.com/-brbLvhOA8Rw/VdY64onpMfI/AAAAAAAAB6o/TaPNUaILI94/s200/LiningClothes2_3.jpg" width="200" /></a></div>
Cut out your garment sections, leaving a 1/4 inch seam allowance. Trim corners and clip curves. I use a large crochet hook to gently push corners out. If you are a bit nervous about this method, and your sections are tiny, you may want to make duplicates .<br />
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<a href="http://2.bp.blogspot.com/-zt1sBGTP4fI/VdY65Gd4PNI/AAAAAAAAB6c/KKwpE_knuvE/s1600/LiningClothes2_4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="http://2.bp.blogspot.com/-zt1sBGTP4fI/VdY65Gd4PNI/AAAAAAAAB6c/KKwpE_knuvE/s200/LiningClothes2_4.jpg" width="200" /></a></div>
<a href="http://1.bp.blogspot.com/--SeLkl6K3VM/VdY65Q5JhII/AAAAAAAAB6g/lyJmNSx7NFY/s1600/LiningClothes2_5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="http://1.bp.blogspot.com/--SeLkl6K3VM/VdY65Q5JhII/AAAAAAAAB6g/lyJmNSx7NFY/s200/LiningClothes2_5.jpg" width="200" /></a>Press each garment section, using the appropriate heat setting for your fabrics. I generally use a pretty hot iron with a good spritz of distilled water. In the photo, I've pressed all the pieces for a silk-lined wool jacket: one back, two fronts and a stand-up collar. Now, fetch your doll, pin the main pieces together and test the fit. My patterns are designed with extra fabric on the shoulders and some overlap at the sides to account for my seaming method. The test fit is very important because each doll has a slightly different body. The open shoulder seam is turned inward the amount indicated by the test fit and pressed firmly before hand sewing the front and back sections together at the shoulder. The side seams are easier. I usually just overlap and sew with an invisible fell stitch. This creates vents at the sides which helps ease movement of the hips.<br />
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<a href="http://2.bp.blogspot.com/-MCrm6t5KdM0/VdY65YEqUFI/AAAAAAAAB6k/x6KAv_mpvbI/s1600/LiningClothes2_6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="http://2.bp.blogspot.com/-MCrm6t5KdM0/VdY65YEqUFI/AAAAAAAAB6k/x6KAv_mpvbI/s200/LiningClothes2_6.jpg" width="200" /></a></div>
If I'm attaching a collar, pockets or other embellishments, it is important to complete the garment before deciding placement of these additions. Always preview placement of extras with the garment on the doll. I pin into place, then hand sew the small sections. In the photo of the completed collar, you can see that the inside neckline of the jacket looks a bit odd. There is "extra" fabric around the neck. From the outside, you have a clean, elegant collar. The inside doesn't matter to me because most people won't see it, but everything is neatly finished if someone looked- no raw edges. A big plus is that this collar took less than five minutes to sew! Also, I don't have to create a new pattern for each garment/doll. I can adjust easily by adding small pieces.<br />
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The completed garment is shown at the top of this post. Looks great!
Next time, what can go wrong sewing clothes...
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-29848165925498393492015-08-01T08:00:00.001-07:002022-04-19T12:45:43.720-07:00Technique Tuesday: Making Felt Heads Video.<div class="separator" style="clear: both; text-align: center;">
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Over the years, I've posted descriptions of my head creation technique. Recently, I posted a video showing the whole process. It is a rather long video, but everything is there, start to finish. The video features rabbits, but an elk shows up at the end. Even I am amazed to see the face take shape at the end. <br />
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If you would like to see related blog posts, click on the links below:<br />
<a href="http://agosiaarts.blogspot.com/2010/09/birds-eye-view.html">A Bird's Eye View</a> shows how I created a Swan head, from sketch to completed bird.<br />
<a href="http://agosiaarts.blogspot.com/2010/12/who-needs-hole-in-head.html">Who Needs A Hole In the Head?</a> describes the process I went through to create a rabbit head with a jaw joint and a mouth that opens and closes.<br />
<a href="http://agosiaarts.blogspot.com/2011/02/new-cast-of-characters.html">A New Cast of Characters</a> shows a variety of heads, unfinished and finished, and you can see what they look like inside and out. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-59586390495500703022015-05-26T06:00:00.001-07:002022-04-19T12:45:58.478-07:00Attaching Fabric Beetles to... Whatever<a href="http://1.bp.blogspot.com/-9lu5B9rewSE/VTqr1-WiRsI/AAAAAAAAB0w/3qrttKaTtXs/s1600/beetleattachment1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="http://1.bp.blogspot.com/-9lu5B9rewSE/VTqr1-WiRsI/AAAAAAAAB0w/3qrttKaTtXs/s1600/beetleattachment1.jpg" width="200" /></a>If you are familiar with my work, you know that my large figures feature a beetle companion. The beetles are made of fabric, leather, beads and wire and I've provided step-by-step instruction both on the blog (see these <a href="http://agosiaarts.blogspot.com/2010/12/beetles-part-1.html">previous posts</a>) and a <a href="https://www.youtube.com/watch?v=YDVoG1fcjfM">YouTube video</a>. The beetles are usually low key in color and texture, and I do try to select one that is complementary to the costume or clothing of a figure. Even though the insects are large, most people don't notice them right away. When they do, it's either delight or shock at the discovery. Thankfully, mostly delight.<br />
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If you follow my blog posts, you know my philosophy towards glue - basically, don't use it unless necessary. This embellishment, like most others I use, is sewn into place. The most difficult part of the process is deciding where to place the beetle. I audition locations and decide which is best based on color, texture and other embellishments; usually I prefer an asymmetric placement relative to other items on the costume.<br />
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<a href="http://1.bp.blogspot.com/-dVyocLqPYm4/VTqr19OLpPI/AAAAAAAAB0s/nl622zXQBcU/s1600/beetleattachment3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="http://1.bp.blogspot.com/-dVyocLqPYm4/VTqr19OLpPI/AAAAAAAAB0s/nl622zXQBcU/s1600/beetleattachment3.jpg" width="200" /></a></div>
The first step is to thread a sturdy needle with button or upholstery thread. Doubled sewing thread is acceptable (run it over beeswax if using), but this requires more stitches and increases the probability of tangles. I take a few anchoring stitches in the clothing of the doll, making sure to only catch the outer layer and not the lining. I don't worry much about being neat because these stitches will not show. <br />
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<a href="http://3.bp.blogspot.com/-yPiT1x_yFTo/VTqr2OLrxBI/AAAAAAAAB04/3mjbIl8YLrc/s1600/beetleattachment4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="http://3.bp.blogspot.com/-yPiT1x_yFTo/VTqr2OLrxBI/AAAAAAAAB04/3mjbIl8YLrc/s1600/beetleattachment4.jpg" width="200" /></a>The beetles have a body that is lightly stuffed and has a bit of dimension. I can take a large stitch through the underside and body of the beetle without the stitch showing on the front. It is important to have the thread go across the entire width of the body so that it is held securely on the costume. The legs are beaded wires and nearly always catch and tangle the thread. It helps to use a shorter thread than normal and hold the loop with my fingers as I'm pulling it through. <br />
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<a href="http://4.bp.blogspot.com/-YXebC1kr1i8/VTqr2cZ06gI/AAAAAAAAB1A/F5o9e0gmBzw/s1600/beetleattachment5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="http://4.bp.blogspot.com/-YXebC1kr1i8/VTqr2cZ06gI/AAAAAAAAB1A/F5o9e0gmBzw/s1600/beetleattachment5.jpg" width="200" /></a></div>
As I pull the thread, I place the beetle right side up against the fabric. If I've folded the legs up, I have to put them back into place while the thread is pulled taut. There isn't any reason to make more stitches and loops to secure the beetle because it is lightweight and hugs the surface. I carefully take one anchoring stitch just under the side of the beetle, make a tiny knot, clip the thread and I'm done. Pretty easy!<br />
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It doesn't seem like that single stitch would be enough, but I've taken a few dolls apart and had to struggle to undo that stitch. It is quite secure!<br />
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Stay tuned for more tips and techniques... Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-22632248686296529062015-05-05T06:00:00.001-07:002022-04-19T12:46:20.222-07:00Technique Tuesday: Making and Attaching Antlers<div style="line-height: 14px; margin: 0px 0px 14px; padding: 0px; text-align: left;">
<a href="http://1.bp.blogspot.com/-HXAh9LrMmRM/VT-c1vZ0obI/AAAAAAAAB2U/jaXBoJ1hFzk/s1600/AttachingAntlers1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-HXAh9LrMmRM/VT-c1vZ0obI/AAAAAAAAB2U/jaXBoJ1hFzk/s1600/AttachingAntlers1.jpg" height="150" width="200" /></a><span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;">Mule <span style="font-family: inherit;">d</span>eer, elk, pronhorn and bighorn sheep are icons of the American West. When I make<span style="font-family: inherit;"> cloth</span> figures <span style="font-family: inherit;">of these sp<span style="font-family: inherit;">e<span style="font-family: inherit;">c<span style="font-family: inherit;">ies</span></span></span></span>, they are always popular<span style="font-family: inherit;">. For many vie<span style="font-family: inherit;">wers</span>, <span style="font-family: inherit;">character of these figures is d<span style="font-family: inherit;">eri<span style="font-family: inherit;">v<span style="font-family: inherit;">ed from th<span style="font-family: inherit;">e <span style="font-family: inherit;">antlers<span style="font-family: inherit;"> as well as the <span style="font-family: inherit;">details</span> of the face. <span style="font-family: inherit;">Years ago, I exper<span style="font-family: inherit;">imented with <span style="font-family: inherit;">different <span style="font-family: inherit;">materials</span> to make antlers and horns<span style="font-family: inherit;"> and settled on a vari<span style="font-family: inherit;">ation of the techniq<span style="font-family: inherit;">ue <a href="http://agosiaarts.blogspot.com/2014/12/technique-tuesday-making-tiny-doll-hands.html">I use to make hands</a>. I've developed p<span style="font-family: inherit;">atterns<span style="font-family: inherit;"> for each <span style="font-family: inherit;">species, use t-shirt fabric<span style="font-family: inherit;"> as a base material, and <span style="font-family: inherit;">sew them onto heads<span style="font-family: inherit;">. <span style="font-family: inherit;">M<span style="font-family: inherit;">aking <span style="font-family: inherit;">ant<span style="font-family: inherit;">lers is easier than <span style="font-family: inherit;">hands a<span style="font-family: inherit;">nd fingers <span style="font-family: inherit;">because of the larger size</span>, although <span style="font-family: inherit;">occasionally I have p<span style="font-family: inherit;">roblems with elk ant<span style="font-family: inherit;">lers (<a href="http://agosiaarts.blogspot.com/2015/01/the-art-of-repairing-antlers.html">see this post for my fix</a><span style="font-family: inherit;">)</span></span></span></span></span></span></span></span></span></span></span>.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<a href="http://3.bp.blogspot.com/-CamVGMs1idk/VT-c1juuPKI/AAAAAAAAB2Y/wGRR8vVwL3k/s1600/AttachingAntlers2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-CamVGMs1idk/VT-c1juuPKI/AAAAAAAAB2Y/wGRR8vVwL3k/s1600/AttachingAntlers2.jpg" height="150" width="200" /></a><br />
<span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;">Shown at right are examples of <span style="font-family: inherit;">deer, pronghorn and bighorn sheep <span style="font-family: inherit;">antlers/horns,<span style="font-family: inherit;"> <span style="font-family: inherit;">before and after stuffing. </span></span></span></span></span>The process is <span style="font-family: inherit;">straightforward. Unlike fingers which are not <span style="font-family: inherit;">filled with anything</span> (but are wired), antlers must be stuffed very firmly. <span style="font-family: inherit;">This take<span style="font-family: inherit;">s time because <span style="font-family: inherit;">the fabric tub<span style="font-family: inherit;">e has a small diame<span style="font-family: inherit;">ter and <span style="font-family: inherit;">must be stuffed a small a<span style="font-family: inherit;">mount <span style="font-family: inherit;">at a time. <span style="font-family: inherit;">Some artists use wires, but I don't. What you see is <span style="font-family: inherit;">just cloth and stuffing<span style="font-family: inherit;">.</span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span></span></span></span></span></span></span></span></span></span> </span><br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span><span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;"> </span></span><br />
<a href="http://2.bp.blogspot.com/-5xege0JMztk/VT-c1i-aGyI/AAAAAAAAB2c/mEO1sGKoSXM/s1600/AttachingAntlers3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-5xege0JMztk/VT-c1i-aGyI/AAAAAAAAB2c/mEO1sGKoSXM/s1600/AttachingAntlers3.jpg" height="150" width="200" /></a><span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;">The antlers are sewn on, not glued. <span style="font-family: inherit;">I complete <span style="font-family: inherit;">everyt<span style="font-family: inherit;">hing else on the head before attach<span style="font-family: inherit;">ing antlers. It is a good idea<span style="font-family: inherit;"> to have<span style="font-family: inherit;"> pict<span style="font-family: inherit;">ures of</span></span></span> </span></span></span>your <span style="font-family: inherit;">model</span> <span style="font-family: inherit;">to assist with placement of ears and antlers bec<span style="font-family: inherit;">ause <span style="font-family: inherit;">your mental image of a deer head is likely to be pretty different from<span style="font-family: inherit;"> the real <span style="font-family: inherit;">thing. </span></span></span></span></span></span>The first step is tucking the ends of the <span style="font-family: inherit;">fabric tube under and making sure the an<span style="font-family: inherit;">tlers are about the s<span style="font-family: inherit;">ame size. I <span style="font-family: inherit;">d</span>on't try to match too much be<span style="font-family: inherit;">cause in nature i<span style="font-family: inherit;">t is very common <span style="font-family: inherit;">for an indivi<span style="font-family: inherit;">dual to have <span style="font-family: inherit;">different sized or shaped antlers. <span style="font-family: inherit;">Use<span style="font-family: inherit;"> two or three pins to <span style="font-family: inherit;">au<span style="font-family: inherit;">dition positions<span style="font-family: inherit;"> easily.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<a href="http://4.bp.blogspot.com/-s6RNJ0b9MYk/VT-c2EDivEI/AAAAAAAAB2k/Ns6PxsxKhCo/s1600/AttachingAntlers4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-s6RNJ0b9MYk/VT-c2EDivEI/AAAAAAAAB2k/Ns6PxsxKhCo/s1600/AttachingAntlers4.jpg" height="150" width="200" /></a><span class="Apple-style-span" style="font-family: inherit;">On this pronghorn, <span style="font-family: inherit;">I've placed the final pins. The image is a bit misleading, b<span style="font-family: inherit;">ecause it looks like the horns are just sitting there, happy, waiting to be sewn. Not true, <span style="font-family: inherit;">they are straining against the pins with a great deal of for<span style="font-family: inherit;">ce. If you jump back to <span style="font-family: inherit;"><a href="http://agosiaarts.blogspot.com/2015/01/technique-tuesday-sewing-doll-heads.html">my previous post about attaching heads onto dolls</a>, you can see images of my pinning technique. The horns <span style="font-family: inherit;">(like the<span style="font-family: inherit;"> doll necks) are ex<span style="font-family: inherit;">trem<span style="font-family: inherit;">e</span>ly firm <span style="font-family: inherit;">and s<span style="font-family: inherit;">tuffing is <span style="font-family: inherit;">on the verge of popping out. This <span style="font-family: inherit;">firmness is what <span style="font-family: inherit;">keeps everything sturdy and upright o<span style="font-family: inherit;">ver time. I'll be honest, pinning the antlers is difficult and you need very strong pins. Usually I use T-pins, but for cla<span style="font-family: inherit;">rity I've shown glass-headed pins here. Use as many pins as you need to keep things in place while sewing.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>
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<a href="http://4.bp.blogspot.com/-dOm6Il7hW_Y/VT-c2FGrzdI/AAAAAAAAB2s/85wX03EUmyg/s1600/AttachingAntlers5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-dOm6Il7hW_Y/VT-c2FGrzdI/AAAAAAAAB2s/85wX03EUmyg/s1600/AttachingAntlers5.jpg" height="150" width="200" /></a><span class="Apple-style-span" style="font-family: inherit;">As with <span style="font-family: inherit;">heads, I use a slip sti<span style="font-family: inherit;">tch and upholstery or button thread to<span style="font-family: inherit;"> sew everythin<span style="font-family: inherit;">g together. I go around each antler or horn twice, digging deep into the head to cat<span style="font-family: inherit;">ch the underlying wool as a<span style="font-family: inherit;">s well as the <span style="font-family: inherit;">exteri<span style="font-family: inherit;">or fabric<span style="font-family: inherit;">. </span></span></span></span></span></span></span></span>The completed<span style="font-family: inherit;"> ant<span style="font-family: inherit;">l<span style="font-family: inherit;">ers <span style="font-family: inherit;">or ho<span style="font-family: inherit;">rns are firm, but flexi<span style="font-family: inherit;">ble<span style="font-family: inherit;"><span style="font-family: inherit;"> and will ho<span style="font-family: inherit;">ld th<span style="font-family: inherit;">ei</span>r sh<span style="font-family: inherit;">ape and position if moved</span></span> around a bit.</span></span></span></span></span></span></span></span></span></span><br />
<br />
<a href="http://1.bp.blogspot.com/-kk_cy3JjkA0/VT-u2x6UbRI/AAAAAAAAB3Y/6BEh87mQnd0/s1600/AttachingAntlers6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-kk_cy3JjkA0/VT-u2x6UbRI/AAAAAAAAB3Y/6BEh87mQnd0/s1600/AttachingAntlers6.jpg" height="200" width="153" /></a><span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span></span></span></span></span></span></span></span><br />
<br />
<br />
<br />
<span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">Th<span style="font-family: inherit;">e final result <span style="font-family: inherit;">looks <span style="font-family: inherit;">pretty good. Quite a handsome fellow! </span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<br />
<span class="Apple-style-span" style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">Stay tuned<span style="font-family: inherit;"> for mo<span style="font-family: inherit;">re <span style="font-family: inherit;">topics</span></span>...</span> </span></span></span> </span></span></span></span></span></span></span></span></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-18020044195074323202015-04-14T08:00:00.001-07:002022-04-19T12:46:34.887-07:00Technique Tuesday: Lining Doll Clothes Part 1<div class="separator" style="clear: both; text-align: center;">
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<a href="http://3.bp.blogspot.com/-LAbw2j78xfM/VSwHDbxtWFI/AAAAAAAABz0/jkjqpKugEIU/s1600/liningclothes5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-LAbw2j78xfM/VSwHDbxtWFI/AAAAAAAABz0/jkjqpKugEIU/s1600/liningclothes5.jpg" height="200" width="150" /></a>Most of my figures wear clothes. Most of those clothes are lined. Your first thought may be that lining tiny garments is a few extra steps and whole lot of extra time. The reality is that it is the simplest and fastest way to make doll clothes. And it looks great.<br />
<br />
I have a only a small number of patterns for clothes: a few jackets and some coats, a few sleeves and that's it. I often change the look of a garment by altering its length, but generally the designs are changed most by choice of fabric and embellishments. If you look carefully at my <a href="http://www.agosiaarts.com/gallery/previous/">website galleries</a>, there are only a few garment styles that my figures wear. <br />
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The first step in making doll clothes this way is to think carefully about how the garment is going to be made. A few of my garments are cut and sewn as one piece (a swing coat, for example), but I usually cut, sew and line fronts, backs and sleeves separately, then sew the sections together on the figure. Even for one-piece garments, a few seams will have to be sewn on the doll - usually side seams. Embellishments are added last, after the basic garment has been completed.<br />
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<a href="http://1.bp.blogspot.com/-Q9V7KEREo34/VSwGsUccRJI/AAAAAAAABzk/cgkJ9YU39Bo/s1600/liningclothes1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Q9V7KEREo34/VSwGsUccRJI/AAAAAAAABzk/cgkJ9YU39Bo/s1600/liningclothes1.jpg" height="150" width="200" /></a></div>
Once you know how to put your garment together, the second step is to create a pattern. This is easiest if you have a finished body. The process I use is similar to creating a muslin for a normal sized garment, using a dress form and inexpensive cloth. Test ideas by making a sample garment. Using a single layer of muslin, cut out a rectangle of fabric and pin to the doll body. <br />
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<a href="http://4.bp.blogspot.com/-GLXgB5FCF-g/VSwHane_iuI/AAAAAAAABz8/fHykUFbD3N4/s1600/liningclothes2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-GLXgB5FCF-g/VSwHane_iuI/AAAAAAAABz8/fHykUFbD3N4/s1600/liningclothes2.jpg" height="150" width="200" /></a>Cut out a sample garment piece, following the contours of your doll and paying attention to where seamlines will appear. Try to cut where you want those seams to be. If you are not confident in your cutting skills, use a pair of round-tip scissors. Repeat this process for every garment piece needed (fronts, back, sleeves, etc). Remove your test muslin, neaten up the edges, make sure sides are symetrical (if that is important to the design) and cut out a complete new set of muslin garment pieces.<br />
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<a href="http://2.bp.blogspot.com/-GbMX9BJIu6E/VSwKOEXQVhI/AAAAAAAAB0I/0tPhsnn6nSQ/s1600/liningclothes3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-GbMX9BJIu6E/VSwKOEXQVhI/AAAAAAAAB0I/0tPhsnn6nSQ/s1600/liningclothes3.jpg" height="150" width="200" /></a></div>
Pin the test garment pieces to the doll. At this point, you only have a single layer of fabric, but you're trying to make sure the pieces fit together, cover all the important parts, have the correct size openings for appendages, and give you room for intended embellishments. In this example, I'm making a jacket for a new smaller size figure that has proportionally larger hips than my usual figures. When I pin the side seams together, there isn't enough fabric to cover the hips. I pinned some extra muslin to the back of jacket section and cut the combined piece to the correct size (shown in the top photo).<br />
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<a href="http://3.bp.blogspot.com/-bgD_dOnVncU/VSwKdMQ2KDI/AAAAAAAAB0Q/sATSqHnPrEU/s1600/liningclothes4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-bgD_dOnVncU/VSwKdMQ2KDI/AAAAAAAAB0Q/sATSqHnPrEU/s1600/liningclothes4.jpg" height="150" width="200" /></a> <br />
If something needs adjustment, consider if you want to adjust the
pattern, or if you can make adjustments on finished pieces. For
example, changes to length, armscye curves and necklines should be made
on the pattern, but pleats, darts and gathers can be made most easily to
completed garment sections. This isn't how you would make human
clothing, but for dolls, this process is easier. Mark any changes
needed onto the muslin and include where your seams overlap. This is
important because your final pattern and garment sections <i>will not </i>utilize seam allowances. <br />
<br />
Next week I explain how I create the finished garment. Stay tuned...Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-89931017643086347452015-04-08T17:59:00.001-07:002022-04-19T12:47:37.894-07:00Book Review: Unconventional & Unexpected: American Quilts Below the Radar by Roderick Kiracofe<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-YWcntjil5Tc/VR3lT-R1YRI/AAAAAAAABzM/ysrT6KF6pDM/s1600/unco.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-YWcntjil5Tc/VR3lT-R1YRI/AAAAAAAABzM/ysrT6KF6pDM/s1600/unco.jpg" /></a></div>
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I recently read and pored over every picture in this
delightful <a href="http://www.amazon.com/Unconventional-Unexpected-American-Quilts-1950-2000/dp/1617691232/ref=sr_1_1?ie=UTF8&qid=1428022461&sr=8-1&keywords=unconventional+and+unexpected">book by Roderick Kiracofe</a>.<span style="mso-spacerun: yes;"> </span>He
has assembled a unique collection of quilts from yard sales, online auctions
& thrift stores.<span style="mso-spacerun: yes;"> </span>Although most people wouldn't
call any of these quilts traditionally beautiful, most are visually striking in some way.<span style="mso-spacerun: yes;"> </span>Included with the plentiful images are essays
by various quilt and fiber art experts including curators of museums and
well-known quilters Denyse Schidt and Kaffe Fassett.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What makes this book so great is the celebration of quilts
that were everyday quilts - the ones we actually grew up sleeping under.<span style="mso-spacerun: yes;"> </span>Not the precise patterns and carefully
selected color schemes that hobbyists and sewing professionals (like myself) create
these days, but the haphazard collection of fabrics from a multitude of
sources, sewn together in meager spare time.<span style="mso-spacerun: yes;">
</span>Maybe there was no filling, perhaps the backing was something strange, and
it may not have been quilted, but it was a quilt we loved.</div>
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<br /></div>
<div class="MsoNormal">
The quilts of my youth were of this type.<span style="mso-spacerun: yes;"> </span>They came from my great aunt, who made them
to keep family members warm in the 40s and 50s. <span style="mso-spacerun: yes;"> </span>Her husband was a tailor and he gave her old
suiting samples.<span style="mso-spacerun: yes;"> </span>The wool rectangles
were usually 4"x8" and pinked on all sides.<span style="mso-spacerun: yes;"> </span>My aunt sewed them up in random combinations as
she received them, backed the assemblage with cut up old shirts and always tied
the quilt with bright red acrylic yarn.<span style="mso-spacerun: yes;"> </span>There
was no batting, but these quilts were very heavy and extremely warm.<span style="mso-spacerun: yes;"> </span>They were oddly attractive, dark and broody,
but with shocking bits of red.<span style="mso-spacerun: yes;"> </span>No one
else I know had anything like them. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you had quilts like this in your past, this is the book
for<span style="mso-spacerun: yes;"> </span>you.<span style="mso-spacerun: yes;">
</span>Actually, if you are any type of quilter or artist, this book is for
you.<span style="mso-spacerun: yes;"> </span>This book celebrates the creative
streak that everyone has, wacky ideas made real, recycling (but not upcycling!),
tenacity, and personal endeavors of all kinds.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My favorite essay in the book is by Janneken Smucker. She
says, " As a quilt historian I've refuted many times the myth of the
scrap<span style="mso-spacerun: yes;"> </span>bag quilt, insisting that
historical quits typically were high-style objects of the middle and upper
classes, rather than utilitarian ones crafted with an economy of means.<span style="mso-spacerun: yes;"> </span>An then I see the collection of quilts R.K.
has assembled over the last decade, .... exhibiting creative reuse,
unconventional design, and an awareness of quilt making traditions ...<span style="mso-spacerun: yes;"> </span>These quilts make me think I know nothing
about quilts.<span style="mso-spacerun: yes;"> </span>These quilts break the
rules".<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is a highly recommended read.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-46703314832908286402015-02-20T06:00:00.001-08:002022-04-19T12:47:57.376-07:00Custom Crocheted Coats, Faster Than Sewing For Dolls<div class="separator" style="clear: both; text-align: center;">
</div>
<a href="http://4.bp.blogspot.com/-qi7IM_GlmV4/VN_LY7b8ynI/AAAAAAAAByI/i-7pwVq37xk/s1600/rabbitcrochetcoat5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-qi7IM_GlmV4/VN_LY7b8ynI/AAAAAAAAByI/i-7pwVq37xk/s1600/rabbitcrochetcoat5.jpg" height="200" width="150" /></a> Recently I made a design decision: I would make all my rabbits and possibly, jackrabbits with crocheted coats. Why you ask? Because it's faster than sewing a coat. And I make a lot of rabbits (they are quite popular). Shown at left is a new <a href="http://www.agosiaarts.com/gallery/forsale/000006/">Desert Cottontail</a> wearing his custom-made linen coat and knit wool scarf - spiffy, no?<br />
<br />
<a href="http://1.bp.blogspot.com/-fkU86gigRgU/VN_LeWmWYUI/AAAAAAAAByY/DbOevCbkGCI/s1600/rabbitcrochetcoat1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-fkU86gigRgU/VN_LeWmWYUI/AAAAAAAAByY/DbOevCbkGCI/s1600/rabbitcrochetcoat1.jpg" height="150" width="200" /></a>Although it sounds like a lot of work, it's not. The coat is based on a simple rectangle, with crocheted-in openings for the arms. There are only three things to consider: 1) the size of the body, 2) the yarn and, 3) the stitch used. Unlike crochet or knitting for a human body, I don't use a lot of fitting for my dolls. I measure only two parts of the body, the circumference of the hips and the width of the shoulders. If the coat can close at the hips without gaps and hangs properly at the shoulders, everything else looks right. Actually, that's good advice for human garments, too!<br />
<br />
<a href="http://1.bp.blogspot.com/-pqdtdJtD9y0/VN_LYZOh5TI/AAAAAAAABx4/0u1LYmFQBQs/s1600/rabbitcrochetcoat3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-pqdtdJtD9y0/VN_LYZOh5TI/AAAAAAAABx4/0u1LYmFQBQs/s1600/rabbitcrochetcoat3.jpg" height="150" width="200" /></a>As with fabric, I prefer natural fibers for yarn. Linen, wool and silk always look appropriate for my figures and they are easy for me to overdye if I need a particular color. I usually try a few different stitches to find a yarn/stitch combo that has some texture, but isn't too overwhelming at doll scale. I don't use a foundation chain when crocheting, but instead use a variation of foundation single crochet that looks like picot edging - a nice touch for the hems. I am a very rapid crocheter, so swatching only takes a few minutes. After picking a nice stitch - in this case a shell stitch - it only took 30 minutes or so to complete the coat. Much faster than knitting. Buttons are easy to add because crochet is so open that buttonholes are
unnecessary. This coat has one button and a leather
belt to hold it closed. The belt is made from an old watchband and has a
beaded thistle dangle - visit the website link above for a look. <br />
<br />
<a href="http://1.bp.blogspot.com/-fSDE-9PPCDk/VN_LYtZktlI/AAAAAAAAByA/Qv_R7LNcUvE/s1600/rabbitcrochetcoat4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-fSDE-9PPCDk/VN_LYtZktlI/AAAAAAAAByA/Qv_R7LNcUvE/s1600/rabbitcrochetcoat4.jpg" height="150" width="200" /></a>In this case I'm using a hook on the small side, but it isn't smaller than what the yarn requires. I think chunky sweaters look bad on everyone - dolls included, but that doesn't mean you need to go miniature in every case. If you are using a tiny crochet hook just to obtain a scale correct garment for a doll, you may end up with a lot of hand fatigue and a garment that is difficult to finish. <br />
<br />
This type of coat is easy to complete and doesn't require additional embellishments. Most of my sewn garments require a similar amount of time to comple, but embellishments add to the total; in some cases a few hours more. So for the rabbits, this really is faster. I can meet the demand for richly textured, unique garments for each figure, without spending a lot of time completing them.<br />
<br />
Stay tuned! <br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-10406274293232033262015-02-17T11:17:00.001-08:002022-04-19T12:48:16.598-07:00Technique Tuesday: Stumpwork Beetles!<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/YDVoG1fcjfM/0.jpg" frameborder="0" height="266" src="http://www.youtube.com/embed/YDVoG1fcjfM?feature=player_embedded" width="320"></iframe></div>
One of the design elements on each of my cloth figures is it's beetle companion. Those beetles are created using a variation of stumpwork, a 3-D embroidery technique. I wish I had the time to make each insect by hand, but I don't, so I've altered the methods to add a machine stitched shortcut. I get a lot of questions about the beetles and always try to explain the process as best I can. In previous posts (<a href="http://agosiaarts.blogspot.com/2010/12/beetles-part-1.html">Part 1</a> and <a href="http://agosiaarts.blogspot.com/2011/02/beetles-part-2.html">Part 2</a>), I outlined my methods, but this month, I made a video.<br />
<br />
If you would like more information about stumpwork, there are quite a few good books out there. The technique is hundreds of years old, but is going through a well-deserved revival in popularity. My two favorite books are by the same author, Jane Nichols. <i><a href="http://www.amazon.com/Stumpwork-Dragonflies-Sally-Milner-Craft/dp/1863512624/ref=sr_1_1?ie=UTF8&qid=1423950176&sr=8-1&keywords=Stumpwork+Dragonflies">Stumpwork Dragonflies </a></i>is lovely, but <i><a href="http://www.amazon.com/Stumpwork-Goldwork-Surface-Embroidery-Collection/dp/1863513183/ref=sr_1_1?ie=UTF8&qid=1423950222&sr=8-1&keywords=The+Stumpwork%2C+Goldwork+and+Surface+Embroidery+Beetle+Collection">The Stumpwork, Goldwork and Surface Embroidery Beetle Collection</a> </i>is a stunner. I think it deserves a spot in every embroiderer's library. If you don't want to purchase the books, they are available through interlibrary loan - visit your local library for more info.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-36228433824746317162015-02-03T06:00:00.001-08:002022-04-19T13:15:27.957-07:00Technique Tuesday: Work Habits and Communication Skills<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">As part of my New Year's clean up, I was going through all my old archived emails and ran across this 2008 letter from a fan and my response. I receive letters like this every once in a while and they always make me smile. So today's technique is found in my response to this person: work everyday, use what you have, and most important, be positive. I still offer the same advice. I would only change one thing- I would now add <a href="http://www.pinterest.com/agosiaarts/">Pinterest</a>!</span></span><br />
<br />
<a href="http://3.bp.blogspot.com/-eb8teev-ON4/TJoncbPnC4I/AAAAAAAAAVo/MSrG-FmvFP8/s1600/pins.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-eb8teev-ON4/TJoncbPnC4I/AAAAAAAAAVo/MSrG-FmvFP8/s1600/pins.jpg" height="149" width="200" /></a><span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;">Hi Alana, <br />
<br />
Thank you for taking the time to read this. First, I love your dolls-- I first saw them in a magazine (I can\'t
remember which one, however! It was a long time ago), and jotted your
name down on a post-it note, which I just found and googled..<br />
<br />
I'm a 40-year old, stay-at-home mother (have been for ten years) . As
my youngest heads to kindergarten this year, I feel like I'm at a bit
of a crossroads and I guess I'm looking for some inspiration-- Reading
your bio has helped me in that. (Thank you!)<br />
<br />
I have degrees in Business and Biology, but actually started college as
an art major. I think the switch to business was in panic, and the
addition of biology was my realization that I needed to be studying
something interesting (which business didn't afford
me.)<br />
<br />
Because in the last ten years we've become used to living on
one-income, I can finally follow what my heart whispers to me without
the panic of having to pay bills-- I realize how lucky I am in that.
(I'm a very practical person. I think somtimes it's a
major fault.)<br />
<br />
I love to write, paint, sew, spin wool, and just started knitting about
6 months ago. (I used to quilt, but haven't in a long time) I, too,
have a love of nature, biology, and natural materials.<br />
<br />
I wanted to thank you for sharing your story on your web-site. Somehow,
it has helped me to read that you have a PhD and have now found success
as an artist. While I have confidence in what I do, I still feel pangs
of doubt as friends return to work in "real"
careers, while I plan to take temporary, much lower paying jobs so that I
can still have free time to follow a more creative path. <br />
<br />
If you have any tips or cautions, I would love to hear them. <br />
<br />
This summer has been preparatory for me-- I've gathered supplies,
created a work space, and took a couple on-line classes (They focused on
writing and the process of submitting work and getting published) On
Sept. 1st, my kids return to school, and I begin
to act out on plans. I have 3 areas that I'm interested in that I will
begin feeling out more. (I think it is like you having ten dolls going
all at once...one will feel more inspirational on certain days and that
is where I will focus at that time.)<br />
<br />
Thank you again for inspiration. I love the dolls. L.</span></span><br />
<span style="font-family: Tahoma; font-size: x-small;"><span style="background-color: white; font-size: 10pt;"><br /></span></span>
<br />
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<a href="http://3.bp.blogspot.com/-25nJhhsDEog/T754RmbaNWI/AAAAAAAAA5Y/h_RyR-bmOQw/s1600/feather.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-25nJhhsDEog/T754RmbaNWI/AAAAAAAAA5Y/h_RyR-bmOQw/s1600/feather.jpg" height="142" width="200" /></a></div>
<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: 10pt;">Hello L.,<br />
<br />
Thank you for a wonderful email and your generosity of spirit. <br />
<br />
I can't tell from your comments if you want to try to sell your work, or if you are still exploring your
creativity. <br />
<br />
In any case, the first thing you have to do is work. This is the
hardest part, especially when you work at home. There are always chores
to be done, but think of going to the studio as if you are going to
work (because you are!). Be disciplined. You MUST
do something creative each day. On days where nothing really inspires
me, I'll do something necessary but mindless (like making 50 hands - I
always need hands). This keeps me in the groove. Other times, I don't
feel like any type of animal or bird is interesting
and I don't want to work on figures. On those days, I'll work on texture
samples (embroidery, crochet, beading, whatever); little bits that can
be incorporated into clothing or bodies later. I am currently making
recycled silk quilts and some days, sewing lots
of little pieces or quilting is what feels right.<br />
<br />
Do not be afraid of "failure". Remember that what looks or feels
horrible or unattractive to you, will be the best thing ever for someone
else. Try really hard to finish what you start. If an item is truly
horrible, don't just put it out of sight. Analyze
the project and find what aspect of it isn't working. Try to say 5 good
things about the project (nice colors, feels soft, pretty stitches,
etc) and 5 distinct reasons why it doesn't work (poor contrast, crooked
seams, uneven thickness, etc.). By doing this,
you will figure out what appeals to you and what doesn't. <br />
<br />
One of the most difficult parts of being an artist is finding your
style. And yes, you have one. Lots of people start out by copying
someone else; I think this is fine because you will never be able to
truly copy something. Just start working on whatever;
its a good idea to start small. Keep trying new things until something
"feels" right to you, but analyze the projects as you go. There is no
way to quantify or describe the creative process. It may take a while, a
long while, but you will get there. Also,
keep in mind that you may find quite a few things that appeal to you.
As for me, I make figures, but also quilts and jewelry. <br />
<br />
Use what you have. Don't be fooled into thinking that if only you had
that tool, or that piece of fabric or those buttons everything would be
perfect. Limiting and using your resources forces you to be creative
and now is the time to start getting used to
it. Your most important tools are your brain and your hands - that's
it. I won't argue that certain tools make the job easier or faster.
For example, I do have a super snazzy sewing machine, but 99% of my
sewing is straight stitch on my old Singer. And
clearly, looking at my figures, you can see that there is a ton of hand
work. The super snazzy machine can only do so much for me.<br />
<br />
Read, read, read. Look at <u>lots</u> of magazines. Go to the library
and check out the latest in fashion, architecture, gardening
periodicals. There is a huge cross-reference in styles for these
areas. Look at textures, colors, geometry. I have a huge
notebook of little snippets from magazines and I use them all the time
when making clothing for my figures. This process will also help you
focus on your personal style.<br />
<br />
I always laugh when people are surprised that I have a Ph.D. I don't
know where the dicotomy between art and science came from. The process
for both is identical. The skills I used when doing research, are the
exact same skills I use as an artist. You should also know that I have
met more science Ph.Ds (women <u>and </u>men) working as artists and
doing art fairs than anywhere else (except in academe). So many people
become disillusioned by the academic grind that
they leave. All scientists are inherently creative people and that
drive must be expressed in some way.<br />
<br />
Last, do not compare yourself to other people with "real" careers.
These are people who often come home exhausted after commuting 2 hours a
day, doing who knows what (and often they can't even say).
They complain about how they never have time
for whatever, are surgically attached to their cell phones, and don't
have real relationships with real people. Who needs that? Be proud of your endeavors. Respect your work. </span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: 10pt;"><br />
Good luck to you. Be positive. Best regards, Alana</span></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-85022574219360227522015-01-30T06:00:00.001-08:002022-04-19T13:14:58.622-07:00New In The Studio: Small Rodents<a href="http://3.bp.blogspot.com/-2BBuZnZeIcI/VMqI8fW1CpI/AAAAAAAABwI/n3ynhhsd6zA/s1600/smallrodent5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-2BBuZnZeIcI/VMqI8fW1CpI/AAAAAAAABwI/n3ynhhsd6zA/s1600/smallrodent5.jpg" height="150" width="200" /></a>If you are familiar with my work, you may have noticed that, although I recreate most of the mammals of the southwest, I don't have any rodents. Rodents are the most numerous of mammals, but historically, not in my studio. I've decided that I really do need to work on this technical weakness and have a selection of rodents for sale - after all they are some of the most beautiful of the region's inhabitants. <br />
<br />
<a href="http://1.bp.blogspot.com/-XUbYiVlu-tE/VMqI8cLD0bI/AAAAAAAABwE/kdnxGxBkVng/s1600/smallrodent4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-XUbYiVlu-tE/VMqI8cLD0bI/AAAAAAAABwE/kdnxGxBkVng/s1600/smallrodent4.jpg" height="150" width="200" /></a>The first step is creating a good body. Most of my figures use one of two basic patterns. I use an alternative smaller pattern for a few birds, and I decided to alter this one for the rodents. I knew I wanted larger thighs and shorter legs. I drew the changes and cut out a sample in muslin. It is important to put all the parts together to see the final dimensions so I strung some string through the appendages and body and tied a simple bow to simulate the joints.<br />
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<a href="http://4.bp.blogspot.com/-EdxcyfwSUmk/VMqI8ie2lQI/AAAAAAAABwQ/AFHdiQgv1z8/s1600/smallrodent6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-EdxcyfwSUmk/VMqI8ie2lQI/AAAAAAAABwQ/AFHdiQgv1z8/s1600/smallrodent6.jpg" height="150" width="200" /></a><a href="http://4.bp.blogspot.com/-z-8l0rC8Vww/VMqI70b6VmI/AAAAAAAABwo/-urQkRa5-PU/s1600/smallrodent3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-z-8l0rC8Vww/VMqI70b6VmI/AAAAAAAABwo/-urQkRa5-PU/s1600/smallrodent3.jpg" height="150" width="200" /></a>In the first sample, I thought the thighs needed to be bigger still, the forearms more slender, and the butt smaller. I pinned out the excess fabric, measured the changes and transferred them to the pattern. A second muslin sample was much improved. <br />
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<a href="http://1.bp.blogspot.com/-Dc1j-maZlhk/VMqI7w-nDoI/AAAAAAAABv4/z8VPiBxi7es/s1600/smallrodent2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Dc1j-maZlhk/VMqI7w-nDoI/AAAAAAAABv4/z8VPiBxi7es/s1600/smallrodent2.jpg" height="150" width="200" /></a>The next step is making a body with 'real' fabric. Because this figure will be much smaller than others I make, I have to be more mindful of fabric choices (smaller figures are more difficult to sew than larger ones). The arms and lower legs are narrow, so using mid-weight wools -my favorite- would add some difficulty. The best choice is light or mid-weight linen or silk. In this figure, the front and inner legs and arms are off-white mid-weight linen, with the back and outer appendages beige handkerchief linen lined with muslin. The lining is necessary to give strength to the seams and a quality 'feel' in the hand (you can always tell if cloth is flimsy just by touch). You can see the finished body in the photo. With a head, it will be about 2/3 the size of my regular figures. <br />
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<a href="http://1.bp.blogspot.com/-pdqKMfhS7eA/VMqI8IhRGaI/AAAAAAAABv8/1BNwMJbpKC0/s1600/smallrodent1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-pdqKMfhS7eA/VMqI8IhRGaI/AAAAAAAABv8/1BNwMJbpKC0/s1600/smallrodent1.jpg" height="150" width="200" /></a>I played around with the rodent body, and it became apparent that the knee joint was not as flexible as it should be. When the knee bends, there is too much fabric behind it and it wants to spring back straight. The solution is to remove a portion of the back of the upper leg to make room for the back of to the lower leg. I will alter the pattern for future projects, but in this case, I took in the fabric with needle and thread. <br />
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Stay tuned for more about the new rodents...<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-58379436232261379712015-01-23T06:00:00.001-08:002022-04-19T13:14:26.583-07:00The Art of Repairing Antlers<a href="http://1.bp.blogspot.com/-Ed18uDYlMJk/VMFurhbW_OI/AAAAAAAABvQ/5uCqkBrHiUo/s1600/ElkAntlerRepair1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Ed18uDYlMJk/VMFurhbW_OI/AAAAAAAABvQ/5uCqkBrHiUo/s1600/ElkAntlerRepair1.jpg" height="150" width="200" /></a>I just finished a set of figures and the last thing I do is check for any odd holes or tears in the garments or figures themselves. Sometimes the tiny rips occur when I'm making the parts and sometimes I'll be careless with scissors. Everyone was damage free, except for the Rocky Mountain Elk shown here. Elk have very large antlers and I make mine using the same materials and process as for fingers (see my <a href="https://www.youtube.com/watch?v=312bb3hW-n4">YouTube video</a>, or <a href="http://agosiaarts.blogspot.com/2010/09/show-of-hands.html">previous post</a>). The difference is that an elk antler is a five inch long, 1/4 inch diameter finger - very difficult to turn right side out. I nearly always blow out a seam, and this guy's antlers were typical.<br />
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<a href="http://4.bp.blogspot.com/-AVinvqTMUjk/VMFurovdwaI/AAAAAAAABvU/bIPIdmfP7S4/s1600/ElkAntlerRepair2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-AVinvqTMUjk/VMFurovdwaI/AAAAAAAABvU/bIPIdmfP7S4/s1600/ElkAntlerRepair2.jpg" height="150" width="200" /></a>Unlike fingers, I don't wire the antlers, again very difficult to do. They are stuffed <i>very</i> tightly with fiberfill, which surprisingly allows them to be flexible and hold their shape. The downside is that any holes are stretched open and fiberfill puffs out. There is no clean way to sew the holes shut. Instead of trying to be neat, I sew the seams with a strong overhand stitch which would be visible if left alone.<br />
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<a href="http://2.bp.blogspot.com/-loSfBRANOnw/VMFurvSeCeI/AAAAAAAABvY/X3oMNRjecAM/s1600/ElkAntlerRepair3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-loSfBRANOnw/VMFurvSeCeI/AAAAAAAABvY/X3oMNRjecAM/s1600/ElkAntlerRepair3.jpg" height="150" width="200" /></a>Years ago, I was watching <i>New Yankee Workshop</i> with Norm Abrams and he described something that has stuck with me for years. He was constructing a piece of furniture that required many boards be joined 'just so.' Instead of trying to be perfect and hide the joins, he said, "Celebrate the joint" and called attention to the joins by carving grooves along them. They became a design feature. So, instead of worrying about tiny repairs, I "celebrate the seam!" In this case, I add beads on top. <br />
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I attached some 11/0 seed beads in a ivory color similar to the fabric used in the antlers. The additional stitching helps to strengthen the area around the rips and adds interesting texture. There were 5 tiny rips, so now the antlers have 5 clusters of beads on them - two in front, three in back. In these photos the beads stand out, but the rest of the figure has a lot going on visually, and the eye is not drawn to them right away. <br />
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Thankfully, I don't make antlers very often, so I don't have to use this technique very much. Mule deer have much shorter antlers and they rarely blow out when turned. I make Desert Bighorn sheep horns using the finger technique, but they are so wide at the base there are never problems. Could you use this repair technique for cloth fingers? Sure, but I never do. I prefer to have clean hands, so I always make extras in case something bad happens.<br />
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See you next week!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7278175092618162563.post-61964864082156593342015-01-09T06:00:00.001-08:002022-04-19T13:14:07.305-07:00Book Review: The Beaded Edge 2<div class="separator" style="clear: both; text-align: center;">
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The <a href="http://www.amazon.com/Beaded-Edge-Inspired-Designs-Crocheted/dp/159668559X/ref=sr_1_2?ie=UTF8&qid=1418767020&sr=8-2&keywords=the+beaded+edge">second edition of The Beaded Edge</a> is very similar to the first (<a href="http://agosiaarts.blogspot.com/2013/04/book-review-beaded-edge.html">reviewed in a previous post). </a> On the positive side, the crochet diagrams are <u>very</u> good. Many new oya patterns are included and if you are an experienced crocheter, you can figure out how to expand the technique to other crochet laces, or create your own. I think the photos and descriptions of the process have improved; there are more of them with easy to follow captions. Likewise, there is more detailed information describing sewing your completed oya to a garment. On the negative side, the book reads as if it were translated from another language (my guess is Japanese) and not much effort was made to clean up some of the clunky sentences. The organization is similar to the first book, with the description/history of traditional oya and the author's travelogue oddly plopped into the middle of the text.<br />
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I'm on the fence about which book I prefer. If you are a beginner to crochet, I would suggest this book due to improved instructions. If you are experienced, it won't make a difference. Its a tie for the type/quality of oya included, although I think those in the second edition show a bit more diversity. <br />
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The designs are all straightforward, being made of chains and single crochet. I've tried most of the oya in both books and I strongly suggest experimenting with different weights of thread, and sizes of beads and steel hooks. After trying many of the patterns, I've found that my stitches are
slightly looser than the author's. To achieve the tight stitches
necessary for these trims, I've had to compensate by using a smaller
hook, and sometimes by changing the placement of stitches. This is definitely a technique that does not translate well to larger threads/yarns. In the two examples shown in the photo, the one on the right is made with 6/o seed beads and perle cotton - pretty much as big as you would want to go for sewing something onto a human garment - materials on the small end for most crocheters. I use a size 10 steel hook, darn tiny, and the smallest I can comfortably use. My main interest in this technique is making small, interesting trims for my dolls, but there are only a few that I can use for that purpose. Even using the finest crochet cotton I have (DMC 8), many of these oya are too large-scale. For my own clothing, everything is temping.<br />
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I think it is interesting that there are virtually zero oya patterns available online. You can find the occasional photo on Pintrest and there is one pattern on Ravelry, but that's it. These really are lovely trims and although it takes quite a bit of time to string the beads, the results are worth it. I recommend this book for all crochet and needlework enthusiasts. Unknownnoreply@blogger.com0