Free Motion Applique

Classroom Books: Some Thoughts About what you Leave Your Students With

| ellenanneeddy

I taught twice over the last two weeks. I had a magnificent class with Gems of the Praire Quilt Guild and with a group of teen artists at the Peoria Art Guild. Seeing that I hadn’t taught a full day class for over ten years, it was a wild experience. I haven’t quite caught my breath. But I had a great time. I hope they did too.

At Gems of the Prairie, I did a classroom book for them, just because I hadn’t done one for that class. Over the years I’ve done a number of classroom books. I taught the Thread Magic Stitch Vocabulary Book, where we make a book out of samples of different kinds of free motion work. The booklet covered it all with step-by-step photos, tips, and tricks. It’s available now from Amazon in Kindle and in print.

Classroom books are not just for a pretty coffee table. I’ve always loved designing eye candy books. Who doesn’t like eye candy? And feeding your eye is an important part of any art. You need to see things that excite you to go on to exciting work of your own.

But classroom books are for a different purpose. They may feed the eye, but they’re there as a guide through a class and as notes for someone who doesn’t normally take good notes in class. Why would I do that?

Because different people learn in different ways. Some folk learn auditorily. They need to hear everything. Some learn visually and need to see everything. Some learn only by doing. In class, you hope all those modes will be covered. If I offer a comprehensive class guide, I’ve doubled down on the visual mode which is usually the most common

How do you know which mode is operating for people? They’ll usually tell you. “I see that…..” I hear that…”The kinetic mode is the least common, but it’s obvious when you see it. They have to touch everything. And they are the ones who probably take the most thorough notes. It involves physical motion.

None of that is good or bad. It just is. Most folk operate in all modes to some extent. They do better when you hit on all three, but they can absorb information from each mode.

Unless they are in some way dyslexic or distracted. At which point, it’s crucial to have a mode ongoing that they can utilize.

Why does that matter? I came out of school to teach first grade. I don’t believe in the bell curve. I believe everyone needs to learn their colors, tie their shoes and read. And have a fighting chance to learn what they want to learn. I believe in meeting a student where they are and leaving no one behind.

So rather than do dense note handouts on boring white paper, I’ve made classroom books for my students. Due to the wonders of print on demand, it costs as much to print a short booklet as to bring in handouts. And the handouts don’t have as cool pictures.

Sadly, the company I printed my other classroom books discontinued my books, when they stopped doing saddle stitched books. So they’re now out of print.

I don’t know that I’ll take up traveling to teach again. But I do think I’ll teach, just because it’s something I really like to do. And I think that the books I did for class are still important ways for people to learn whether I teach them or not.

The downside of a classroom book is that it’s meant to cover just what’s in a class. Usually, they have a supply list, patterns, step-by-step pictures and instructions, a short gallery, tips, and a source guide. They cost more because they are self-published. It’s a limited scope.

So I’m revisiting those books. I’m hoping on reprinting them, although the format needs to change a bit to accommodate perfect-bound books.

Because, even without class, a classroom book is there to share information, to teach whether you are there or not.

So I’m planning on reprinting these with booklets put together in a series of books called Skill Builders, What do you think? Is it something you’d like?

Let me know what you think.

what’s Underneath: How Backgrounds Shade Embroidery

| ellenanneeddy

Like most little girls, I had a pink bedroom. Unlike most other girls, mine was seafood bisque pink with brown. Needless to say, I’m hesitant about using pink. I certainly don’t wear it..

But in spite of my feelings about pink, I know better than to dismiss a color from the color wheel. They’re all in relationship with each other. It’s like putting up with weird Uncle Fred because you really like his wife Ethel. They are deeply connected and you get the one when you choose the other.

And some things are just unabashedly pink. Like roseated spoonbills. So here we are.

She’s a nesting bird, and I loved her pink and brownish background. You can push past your color preferences when you try,

These flowers were mostly white sheers and lace, stitched over in pinks, cream, and whites. The white glowa behind and the thread gives a pink blush. To my mind, they register as white flowers but the shadows echo the burgundy background. It’s a delicate look.

I haven’t done lady slippers for a while. And I wanted a white creeping vine around the outside. But you can’t make something just white. It has no dimension. So this time I used white sheers to form the flowers, but I pulled in other colors to shade them. Because the background is fuchsia, I went for soft pink shading for the white flowers. For the lady slippers, I went into brighter pinks and burgundies, with the white shining through just a bit.

Now, what makes the color of a flower? Or any other thread work? Is it the thread? Or are there other factors.

No matter how much you stitch over something you always see the background. Always. Usually I am for a background color that accentuates the threadwork.

What happens if it doesn’t blend or match? It glows from beneath. I’ve started with iridescent white organza to create an inner glow for the lady slippers.

I stitched from both sides, leaving just a bit of plain iridescent organza in the center to round out the flower. The iridescent background creates an inner glow and a subtle pink.

Here I chose pink sheers and stitched over them with various pink/apricot threads. The effect is vibrant and full of color.

The background I stitch over is as much a part of the color as the threadwork. The differences are subtle but very cool. The combination of light and color creates dimensional blooms that glow.

Time is Spiral

| ellenanneeddy

This is a special week for me. After 10 years, I’m teaching in a guild again. I’ll be lecturing at Gems of the Prairie Wednesday, May 3rd, and teaching the class The Stitch Vocabulary Book on May 4th. The class is full, but I’m told the guild welcomes non-members for the lecture. You are all very welcome to come!

It’s my developmental lecture.: How I became an artist. That’s a misnomer by the way. We are artists by the way of being human. It’s how I stumbled into my own art, and where it has taken me.

Every year I try to do something I’ve never done before. for my birthday. This year, I’m teaching a lecture and class, after a ten-year hiatus.

And on May 5th, I turn 70. I’ve always dreaded that. It sounds so old. Yet here we are. And if you’re a contemporary, so are you. As someone quite wise said to me, “If you made it, you celebrate it.” I intend to.

My life has always been a bit upside down. I’m too dyslexic to do things in a rational linear order. I started doing my art in my 20s. I married at 62. I borrowed other people’s children, although I always gave them back. And I had a lot of physical limits. 10 years ago, I pretty much stopped doing art and wrote books instead. And then Don gave me his old house for a studio. And my art flared up like a forest fire. Only a bit less destructive. It was back.

Making art is an expression of vision. Teaching is the sharing of technique. They really aren’t very similar. But they balance each other on the see-saw for good art is always bound by technique, and the ability to share technique extends everyone’s ability to share vision.

Thread Magic Stitch Vocabulary Book

In prepping for class, I’ve done some things I really haven’t done for a while. I wrote and published a new classroom book for the class. Classroom books are all about technique, and this one is chocked full of different ways to use free motion: zigzag stitching, straight stitching, garnet stitch, hard edge applique, soft edge applique and bobbin work, with extra chapters on silk flowers, globbing and Angelina fiber. Bookmaking is a skill. It was nice to come back to that again.

You’ll find the Thread Magic Stitch Vocabulary Book on Amazon in both Kindle and hard copy.

And I’ve brushed up that lecture. It was shocking to realize how much my technique had changed in three years. The revised lecture needed to cover that. My stabilizer techniques, my drawing techniques, and my stitching techniques are massively different.

To celebrate the class, I’ve put quilts on sale. I’ll have them at lecture and class but you can also purchase them on my Etsy site at www.etsy.com/shop/EllenAnneEddy

What was more shocking, was that I had enough quilts to do a full trunk show out of that three years of work, with no older work included. Old work is fun for a lecture, but I think my new work is much more exciting. Yes. I will let you touch them. It’s astonishing what gets done if you are doing it daily.\

My point is that life isn’t linear. It’s a spiral, just like time in a garden. It doesn’t start at one place and just go to another. It cycles, it stalls, it spins out, It shoots up. Flares down. But even when things stop, they come back again in a different form at a different time in a different way. I don’t think I need a thing for this birthday, except, note to Don, some new books. The journey is the gift.

You are so welcome to come to my lecture. for Gems of the Prairie. It’s at St Paul Lutheran Church 1427 W Lake Avenue, Peoria, IL, United States, May 3rd, at 6:30 PM. I’m bringing piles of fabric, books and hand-dyed threads so people can play with the toys I use.

All time is a spiral. Wait long enough and things lost come back in their own way and time. I am grateful.

Living Large: Strategies for Dealing with Large Quilts

| ellenanneeddy

I almost never do bed quilts. I did them when I was younger and watched them die as I used them. It was too depressing. I occasionally will do a baby quilt or a comfort quilt for someone dealing with illness. Mostly I do art.

And since art doesn’t have to be big, I don’t often make something bed-size to put on the wall. Except when I do,

This heron couldn’t be done smaller. At least I couldn’t do it smaller. He’s 60″ x 52″. He’s pretty much the size of God’s underpants.

There are some strategies for dealing with overlarge quilts. The first three are, don’t. But if you’ve decided it must be large, there are several things you can do that will help.

Strategies for Large Quilts

Break it into components. For myself, that means the embroideries. I do them separately and then apply them when the top is ready. But it might be working in rows or in segments. Different quilts will suggest different approaches.

Use larger details. Scaling up the design means there’s less work in it. Sometimes extensive detail just looks ditsy on a larger piece.

Buy extra sewing machine needles. Larger quilts require more tugging and pulling and that will break needles. Promise.

If you have a machine with a wider arm, this is the moment. The arm of your machine is the space between the needle and the mechanical right end. A lot of manufacturers make machines with a longer arm. That’s extra room to shove the quilt through the machine. It can be very helpful.

Use a design wall where you can walk away and really see your design. A design wall should be big enough to accommodate your work and in a big enough space where you can walk away and really look at it. For more information about making and using a design wall, here’s a blog post on it: Studio Essentials: The Glories of the Design Wall.

The other helper is what we used to call bicycle clamps. Roll your quilt, clamp them with these clamps and then you can maneuver it easier.

I don’t do large quilts often. But they do really make a punchline in a gallery show. So this heron is promised to a show at the Peoria Art Guild in September. We should have him crowing by then.

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The Thread Magic Stitch Vocabulary Book is Ready to Order

| ellenanneeddy

The Thread Magic Stitch Vocabulary Book is available to order in print!

This classroom book takes you through all the techniques I use to create my art in 5 easy exercises on 9″ squares. Then you take those exercises and bind them into your own reference book, there to remind you what works best for you.

I love classroom books. I think it’s important to give people the whole recipe for something, with nothing left out. That’s what I tried to do here.

It includes free motion techniques on straight stitch, zigzag, bobbin work, hard edge applique, soft edge applique, rocks, Angelina fiber, globbing, couching, silk flowers and leaves, and all machine binding.

If you are taking the class at Gems of the Prairie, your book is part of your class fee and will be waiting for you at class. For everyone else, you can order it now on Amazon. https://www.amazon.com/…/173228…/ref=tmm_pap_swatch_0…

The Thread MAgic Stitch Vocabulary Book is Available in Kindle!

| ellenanneeddy

The Thread Magic Stitch Vocabulary Book went up yesterday on Kindle and is now available! I’ve been sharing my chapters with you so you can get a taste. This is the classroom book that shows you most of the technique

es I use for my work.

I will be teaching the class, Thread Magic Stitch Vocabulary Book for the Gems of the Praire Guild in Peoria on May 4th with a lecture on May 3rd.

This is my first guild gig in about 10 years. There are a lot of reasons for that, and I don’t know that I’m back to a gig I have to travel for yet. But I am so excited to be back in a classroom, and I’ve found there are so many techniques that have changed or modified over that period of time. And so many more things I can do with those techniques..

So I did this booklet, especially for this class. But it should stand alone as a set of exercises you can use to build your skills and stretch your abilities. There is a full toolbox of free motion techniques you can include in your work with just a little practice.

You can see several chapters up on earlier blog posts.

Product or Process. How Do You Learn Best

Bobbin Work

Hard Edge Applique

Skills covered
Free motion straight stitch
Free motion zigzag
Bobbin work
Hard edge applique
Soft edge applique
Working with Angelina Fiber
Working with dyed cheesecloth
Couching
Adding silk flowers and leaves
Globbing

I tried to write a book that would cover a lot of information in a small space. I’m hoping you find it useful. You can order the Kindle Stitch Vocabulary Book right now. The print book will be out at the end of the month, and it’s part of your kit if you are taking the class.

I’m so excited to be sharing this material with you and to be out teaching again with the best people in the world. Quilters!

telling the Story: How backgrounds Change Everything

| ellenanneeddy

Today I needed a color break. I’ve been frantically finishing the Stitch Vocabulary Book for three weeks, and I was terribly tired of computer work. So I sorted out the fabric I intend to bring to sale at Gems of the Prairie in May, That meant I set aside the pieces I wanted to work up.

Of course, that was an immense pile, Somewhere in it, I found this owl.

He really wasn’t lost. I knew he was around. I just wasn’t sure what pile. He was the third of three owls I made for a quilt that simply never worked.

I found several pieces that I thought would be amazing backgrounds. But a very strange thing happened. It wasn’t just that the fabric made the owl feel different. They actually started telling really different stories about him.

So this had a golden open door he’s going through.

Investigating a flower in the garden. Perhaps with small mice or butterflies.

Flying toward a red moon. Or is it a rose?

Is that a fire or a sunset? Is he flying towards it or in flight away from it?

Or somehow a moonlit winter night. Perhaps with snow. Or a flowering tree with moths?

I’m always astonished by hand-dyed fabric. It’s so versatile and offers so much to design. But I hadn’t seen it as a backdrop to a story. And that’s exactly what it did.

Which will I choose? I’m not sure yet. Normally I’m drawn to color. But there’s something fabulous about that winter moon. And while I work on it, perhaps it will tell me its story.