18 August 2011
15 August 2011
This sketch has a couple of meanings... Yes, it is a peach. It is set on a background of the symbol for the prefecture of Fukushima Japan.
Fukushima has always been famous for its peaches. The peaches have traditionally been given as presents, well-known for their high quality. Even peaches that fell on the ground were collected and made into juice, jams, etc.
This year, farmers in the prefecture have been cutting the grass under the peach trees so the peaches won't touch the grass. They can't cut the grass down to the ground because the wind would throw dust from the ground up into the air.
Wonderfully delicious peaches, a proud history.
Few buyers this year.
13 August 2011
12 August 2011
03 April 2011
Looked at the suggested web site that has information on Fibonacci Sequence in nature [updated URL: http://www.maths.surrey.ac.uk/hosted-sites/R.Knott/Fibonacci/fibnat.html] --- FASCINATING!!! As a farmer, I will watch for this pattern as the summer crops come out. ☼ We have four or five tiny asparagus already, but didn't see the pattern there... the winter broccoli is about in its final stages. Looks like it needs a haircut - no pattern detected there ;-)
Following the instructions, chose several previously printed papers, assorted them by tones, glued down (9.1).
Then, using these strips, rearranged them in alternating directions (9.3).
Took a patterned paper and a sheet of black. Cut both into the proportions, realigned them, like shuffling two halves of a deck of cards ;-) (9.4).
Rotated the new block and cut it again in the Fibonacci proportions (9.5).
Took copies of block in 9.7, cut them into equal widths and placed them in order to create a log cabin patchwork design (9.8).
Used copies of the same block, cut into Fibonacci proportions, glued down on black paper. Turned the new block 90 degrees and again cut it in the same proportions, glued down on white paper. Continued this process two more times. I was curious as to 1) how many times this could be done (infinitely, I suppose, depending on your knife), and 2) what the end results would look like (9.9).
Finally, took new pieces of printed papers cut into Fibonacci proportions and arranged them in the Golden Section pattern (9.10).
And another, using Fibonacci sequence proportions as radius of each circle in 9.11.
This chapter was easy to do and the results were striking (my favorites: 9.6, 9.7, 9.8). As with the other chapters in this module, I again wondered what the results would be if these samples were done in color.
Learning about the Fibonacci Sequence was interesting. The Golden Section arrangement would be a lovely way to display artwork on a wall, to create a poster or other advertising, etc. I will keep an eye out to see where and how this is being used.
I used a rotary cutter. When cutting very narrow strips, it's important to be extra careful so that 1) you don't cut yourself, and 2) you don't make unwanted slits which make it difficult to glue down the strips.
It's important to make sure you have enough glue over the entire surface of the paper your are gluing down. If there isn't enough, especially in something like 9.9 above, tiny pieces will fall off as you cut through the strips or otherwise manipulate them.
27 March 2011
Sample A used some of the black dyed fabric from Chapter 6 along with bought fabric along in the seam, then frayed, and sewn in place.
Sample B also used a bit of dyed fabric and three different pieces of bought fabric, layered, sewn in the seam, then frayed.
Sample C, black dyed fabric and two pieces of plain white fabric sewn in the seam, then frayed and gathered, then tied with another piece of white thread.
Sample E is a ribbon sample using three layers of fabric, bought tiger pattern, plain black, top a dyed sliver of fabric.
Sample F is also a ribbon sample using a combination of dyed and bought fabric pieces, layered and then frayed.
Sample G is my favorite. It is a pice of white fabric that had been stitched, with 3 or 4 layers of a bought knit fabric sewn in the seam. Then, I frayed the seam pieces and it turned out like the mane on a horse/zebra?
28 February 2011
Made several designs in paper (the "a" images on the left below).
~~ SECOND STAGE ~~
Then tried them in fabric (the "b" images on the right below.)
7.3b in fabric (right)
7.7b and in fabric (right)
in paper (left);
7.11b in fabric (right)
cut, arranged and sewn together...
Ooh, this is fun! Let's do some more...
7.18a Another Log Cabin pattern
In 7.18b above, I used smaller inserts of seminole patterns within the Log Cabin method.
In 7.21a above, again, I used photocopies of painted and dyed fabrics, making first the long strips in seminole method, cutting, rearranging, re-gluing. Then, in 7.21b, I used the same fabrics and inserted bits of other fabrics, yarn, and even some of the threads I had pulled out of the "zebra" piece above to sew in at the seams.
- I am not a seamstress. For me, it's rather SEAM STRESS. I really had trouble with the top and bottom samples in 7.2b and 7.3b. Just couldn't get them to end up with straight rows that ended together. I am in awe of the person who produced the samples in the course book.
Oh, well, forge ahead.
And forging ahead, I found that these processes were a lot of fun! (As long as you don't need to sew too straight.)
- Save little pieces of fabric. You never know when they might come in handy. Happily, this follows the rule of conserving resources and recycling.
- Don't cut the fabric too small. If you do, you either have to sew very teeny tiny seams which then fall apart, or the piece gets lost between larger pieces.
- The mantra is "It's okay to play. It's okay to play..."