tag:blogger.com,1999:blog-34310732058817672942024-02-07T14:35:12.509-08:00Carol Ann SinnreichCarol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.comBlogger24125tag:blogger.com,1999:blog-3431073205881767294.post-58244207654081572922015-01-12T19:16:00.001-08:002015-01-12T19:16:09.277-08:00Construction Zone 101<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">The procedures I follow when assembling my designs have me behaving
like a construction site supervisor. It amuses me to imagine wearing a hard hat
while working on my pictorials. There is an informal organization plan I rely
upon to oversee the building of a wall hanging, large or small. I rarely
diverge from this scheme and offer a view in this posting and the next ones. </span></div>
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<span style="font-family: Verdana, sans-serif;"><u>Planning Phase</u>. Long ago I established a routine when
dealing with creative musings, which may have been sparked by reading, by something
seen on a walk, or by brainstorming a flash of an idea popping into mind. I
spend a lot of time stewing, planning, wrestling and turning
ideas around, examining them from all angles. My reality is if I do not “see” a
fairly clear picture in my mind for a design, it will be a struggle to capture
it on paper, and eventually be discarded. </span></div>
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<span style="font-family: Verdana, sans-serif;">A sketchbook tends to be my starting point and I spend time
making many small rudimentary sketches trying to anchor a spark before it is
lost. For <i>Watchful, </i>this began with
seeing a dog sitting on top of a pick-up truck in a parking lot. I did not have my
camera, but I whipped out my sketchbook I carry with me everywhere. </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq0uuctk_9WnVoeEarFSdfBVoj27093YA2mf3sYkd0_y3VvyccIM1Imqy-oNMxT1BXAkmyAlFfvTsDWXSzKT2VNXEac4XXDFg_ib5ELmsWILvCdL563SykOGh9s3Qeqv9-oBp1rdk3e-PJ/s1600/Watchful+sketch+alt.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq0uuctk_9WnVoeEarFSdfBVoj27093YA2mf3sYkd0_y3VvyccIM1Imqy-oNMxT1BXAkmyAlFfvTsDWXSzKT2VNXEac4XXDFg_ib5ELmsWILvCdL563SykOGh9s3Qeqv9-oBp1rdk3e-PJ/s1600/Watchful+sketch+alt.jpg" height="294" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: small;">A rough drawing to capture the essence of concern</span></td></tr>
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<span style="font-family: Verdana, sans-serif;"> </span><br />
<u style="font-family: Verdana, sans-serif;">Master Pattern</u><span style="font-family: Verdana, sans-serif;">: The advantage of doing sketches followed
by refined drawings is, I become more familiar with the design concept, am able
to start planning the compositional layout and begin resolving potential problems
I may confront long before I commit fabric and time. Paper is cheap. Textiles
are not. The next step will be drawing a refined, full-size master pattern that
becomes the road map (site plan), which is never cut up during construction.
Again, I am becoming more intimate with the design and its challenges. A critical
review of the master plan </span><span style="font-family: Verdana, sans-serif;">will take place before picking up the scissors to begin the
work. Of course, adjustments and changes do occur during the process of stitching and completing the work. </span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO-5KpXcXdHAgEBqN8Uo6we4yntoCLH8mYM8hK2ma7T7X55ByiNUvPnGCFxov2AHzyrGqoxxd_CUy-WCxoNpndCXoPEysXNzn3frGI6GhLMqOetqOrKBAWA_woEMDov0ZYgCZIpu_Gz0Fu/s1600/Paper+Sketch+1+(Medium).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO-5KpXcXdHAgEBqN8Uo6we4yntoCLH8mYM8hK2ma7T7X55ByiNUvPnGCFxov2AHzyrGqoxxd_CUy-WCxoNpndCXoPEysXNzn3frGI6GhLMqOetqOrKBAWA_woEMDov0ZYgCZIpu_Gz0Fu/s1600/Paper+Sketch+1+(Medium).jpg" height="257" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: small;">A full size master drawing is created.</span></td></tr>
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<span style="font-family: Verdana, sans-serif;"><u>Work Routine.</u> I use to stitch everything by hand, but
concluded I will not live long enough to finish all my ideas. Consequently, my preference
is machine appliqué with turned under edges, machine embroidery and quilting. After
selecting fabric, I cut out swatches to make a “swatch board” with notes to
remind me of decisions made, thus, reducing the need to revisit decisions each
time I return to my studio. Next, I will begin by tracing, marking and cutting freezer
paper templates starting with the main character and begin stitching together
the body parts. In this example, it is a wolf.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Ai-HYM_M7h3nHhTuvfWzrugZZp4u6jFfIk7Lg9n7rPOFgI2F-M60CBRCPFSdlKLiDVzOp7QJQGDz_ydmLY-MO8ViBhicFy_p8nFAqfis9u7cr44TUVdoB2u_DYkER2E9byPnZRQuA1jf/s1600/Scouts+choices+(Small).JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Ai-HYM_M7h3nHhTuvfWzrugZZp4u6jFfIk7Lg9n7rPOFgI2F-M60CBRCPFSdlKLiDVzOp7QJQGDz_ydmLY-MO8ViBhicFy_p8nFAqfis9u7cr44TUVdoB2u_DYkER2E9byPnZRQuA1jf/s1600/Scouts+choices+(Small).JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: small; text-align: start;">This illustrates the swatch board in the upper right corner, a tracing of a wolf, its freezer paper replica from which templates are cut. On the far left is a collection of fabric choices for the wolf's fur. </span></div>
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<span style="font-family: Verdana, sans-serif;">Contrary to traditional appliqué, the backgrounds and support
layers are the last choices I make. I work my designs from the top down to the
backdrop layers to avoid being doomed by poor choices that may not work well in
the long run. I do not want to rip out and redo. As a result, I will have body
parts, or other segments, strewn about my studio awaiting further development. When enough segments have been assembled and are ready
to be pulled together, I am able to fit the units with its adjacent details like
putting a picture puzzle together. </span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1RMOYwDn5TLabFFoFcHK9xzLtCODtkK4d-pUcaHCub8uWEJN0r32gLI1QiPWs33vcxdSlZn_UcKlhDpoqO-IlKibvwa8zjE-T8NZEDjkaSs5yy01uasGmqNrgnbwgYRE7VHKaNpcRMmwO/s1600/Jake+portfolio+(Small).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1RMOYwDn5TLabFFoFcHK9xzLtCODtkK4d-pUcaHCub8uWEJN0r32gLI1QiPWs33vcxdSlZn_UcKlhDpoqO-IlKibvwa8zjE-T8NZEDjkaSs5yy01uasGmqNrgnbwgYRE7VHKaNpcRMmwO/s1600/Jake+portfolio+(Small).jpg" height="286" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: xx-small; text-align: start;"><span style="font-family: Verdana, sans-serif; font-size: small;">This dog hung around until the front porch was stitched together. He eventually claimed his spot where he could watch everything. The amazing thing is, his eyes will follow the viewer passing by this pictorial. See the full photo of <i>Watchful </i>at the bottom.</span></span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small; text-align: start;"><span style="font-family: Verdana, sans-serif; font-size: small;"></span></span></td></tr>
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<br /><span style="font-family: Verdana, sans-serif;"> Another example to show how body parts and other elements are constructed separately from the eventual full design is in this photo:</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixqk_wg1CXkiKWORLsObSSm0t0oSN7ndtfQEVU_f5Cf5rTvx8fItua_pKzbJY02azQjtdUpXGi-jE_UWf6nVLBBVLn6W-xAwJJtv5NypuBqlGq0p9pjC4o0e01vq8_dZpzDzOvqJkMroMO/s1600/Medicine+Hat+plus+013+(Small).jpg" imageanchor="1" style="clear: right; display: inline !important; font-family: Verdana, sans-serif; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixqk_wg1CXkiKWORLsObSSm0t0oSN7ndtfQEVU_f5Cf5rTvx8fItua_pKzbJY02azQjtdUpXGi-jE_UWf6nVLBBVLn6W-xAwJJtv5NypuBqlGq0p9pjC4o0e01vq8_dZpzDzOvqJkMroMO/s1600/Medicine+Hat+plus+013+(Small).jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: small;">Two horses are arranged running beside the large one, and a fourth is trying to catch up. The group "galloped" for weeks on a design wall in my studio until the background terrain could be assembled for <i>Windspirit.<br /> </i></span></td></tr>
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Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com2tag:blogger.com,1999:blog-3431073205881767294.post-11473451124102326092014-12-27T19:40:00.000-08:002014-12-28T09:36:02.783-08:00Stretched Canvas Mounts<div>
<span style="font-family: Verdana, sans-serif;">Another favorite method to use for preparing quilted artwork to display in galleries is to mount the work on fabric-wrapped, stretched canvas surfaces which can be purchased at any art supply dealer, locally or on line. Stretched canvases are made in a variety of sizes and shapes, square, rectangular and even circular. For wrapping a stretched canvas select the size and profile desired to mount and display the quilted art work. The choices for profiles (depth of canvas) are 3/4”, a typical profile; or, one can choose a 1 3/8” Gallery profile or a 2 3/8” Museum profile. </span></div>
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<span style="font-family: Verdana, sans-serif;">To wrap a stretched canvas with fabric, the additional supplies needed are: staple gun with 1/4” staples, background fabric to coordinate with the artwork, a finished quilted piece, eye screws and picture wire.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUtXxRO4WQ-9mEB9I4z1dCCNhuTApiErStG8bs23UhjHpVmA7Bb3u6txPu4hpGzlsJXSZnSoT7cwWDqjBj0Vr18G_5_pyTZqq7ZZUgx-aupfCVzQQ4ngrKQpKuEyAyoxmPFxie_A_X4KE8/s1600/Garden+Series0220.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUtXxRO4WQ-9mEB9I4z1dCCNhuTApiErStG8bs23UhjHpVmA7Bb3u6txPu4hpGzlsJXSZnSoT7cwWDqjBj0Vr18G_5_pyTZqq7ZZUgx-aupfCVzQQ4ngrKQpKuEyAyoxmPFxie_A_X4KE8/s1600/Garden+Series0220.JPG" height="211" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;">I like using a 9”x 9” square canvas with a Museum profile because I like depth the mounted work projects from the wall after it is hung. A 7” square pictorial (with a 1” background margin around four sides) centers nicely on the covered canvas. For groupings such as above, I use the same batik fabric to cover all 8 canvases, and varied the finished theme-related artwork that were stitched on top. Each one one sold. </span><br />
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<span style="font-family: Verdana, sans-serif;">The method for making the fabric wrap is s</span><span style="font-family: Verdana, sans-serif;">traightforward and is easily accomplished after practicing</span><span style="font-family: Verdana, sans-serif;"> with one or two stretched canvases. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKtgcdkCPp3JMNT338oKskHYPskz-gQGeO0PcB3sxszJTG_FGCBHBxxQd-Sp39OaZpJ-FKGoB6j9klSn4cRARXF5QCobtPimW_Aij9HWqsl3T2jDCSTBJcgX6Vec602jTayyuf-9eSxgnH/s1600/Gallery+wrap.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKtgcdkCPp3JMNT338oKskHYPskz-gQGeO0PcB3sxszJTG_FGCBHBxxQd-Sp39OaZpJ-FKGoB6j9klSn4cRARXF5QCobtPimW_Aij9HWqsl3T2jDCSTBJcgX6Vec602jTayyuf-9eSxgnH/s1600/Gallery+wrap.JPG" height="240" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;">The size of background fabric is determined by adding together the dimensions of the canvas, plus the profile size (round-up to the nearest ½")</span><span style="font-family: Verdana, sans-serif;"> times 2, plus the width of the wooden stretchers on the back times 2. For a 9" x 9" canvas, the math is:</span><br />
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<span style="font-family: Verdana, sans-serif;">9" + profile dimension (</span><span style="font-family: Verdana, sans-serif;">2½")</span><span style="font-family: Verdana, sans-serif;"> doubled (5") + 1½" doubled (3") to cover the stretcher bars on the back = 17" square. 9" + 5" + 3" = 17" square of fabric to be cut to be wrapped around the stretched canvas. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqk2xaUDAU-fU6Z1Al-wicxVi-vlF3j1Hgg9EbYdhIdgDb8xk3_9e_to0IBqx1yasYzshHbUewCNnD4TmOGMwrYzSfG5WI9F7-jN6Y8NErlKAJQzOxckk85ZDgE5-9DvfQ-JhVQm8Ih84/s1600/Galler+profile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqk2xaUDAU-fU6Z1Al-wicxVi-vlF3j1Hgg9EbYdhIdgDb8xk3_9e_to0IBqx1yasYzshHbUewCNnD4TmOGMwrYzSfG5WI9F7-jN6Y8NErlKAJQzOxckk85ZDgE5-9DvfQ-JhVQm8Ih84/s1600/Galler+profile.jpg" height="197" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;">First: The finished artwork is centered</span><span style="font-family: Verdana, sans-serif;"> on the right side square of background fabric chosen. With a sewing machine, stitched the artwork onto the fabric square using a stitch-in-the-ditch along the inside edge of the binding.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjblDU1CBeF8UlkHaaLTUHgE05221GYM0ZXlsXVqwEoudRzsM3XivqbhnJI0mF93hoJtKgXRiuBxAVX1rANmMDDqXUK4qooaigf3r4pk6VIsd7r4o5kKpXSjbDMnpN2cMS-SITXwkB4RK5N/s1600/Double+Trouble+redone+062.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjblDU1CBeF8UlkHaaLTUHgE05221GYM0ZXlsXVqwEoudRzsM3XivqbhnJI0mF93hoJtKgXRiuBxAVX1rANmMDDqXUK4qooaigf3r4pk6VIsd7r4o5kKpXSjbDMnpN2cMS-SITXwkB4RK5N/s1600/Double+Trouble+redone+062.jpg" height="306" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Double Trouble, 9" x 9"</td></tr>
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<span style="font-family: Verdana, sans-serif;">Secondly, lay this onto the top of the canvas making sure everything is centered and carefully begin wrapping two opposite edges around the canvas. Holding it flip the canvas over and begin stapling the raw edges along the back. Start stapling in the center of one side and gently pull the work across to be stapled on the opposite side center. It does not have to be stretch super tight. Be gentle.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbTMs3H3FNzT88Il7ooHYnsW6xJc9x8Ks0R7YlmdrXW4K-OQ6rxoyJ63xPSIqS2zemUpFmoBUXA9ZspZduipV7jK6RcrhCCVwVhyphenhypheniU86ZOsoOGVs9mQi6brkZku9uS9bwOlXAlsL9rkw5j/s1600/Gallery+wrap+back.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbTMs3H3FNzT88Il7ooHYnsW6xJc9x8Ks0R7YlmdrXW4K-OQ6rxoyJ63xPSIqS2zemUpFmoBUXA9ZspZduipV7jK6RcrhCCVwVhyphenhypheniU86ZOsoOGVs9mQi6brkZku9uS9bwOlXAlsL9rkw5j/s1600/Gallery+wrap+back.jpg" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Fold the excess at the corners like a miter and tuck them underneath before flapping the remaining two edges and stapling them in place. Staple along the edges to hold firmly. </span><br />
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<span style="font-family: Verdana, sans-serif;">The final step is to place two eye screws inside the stretcher bars so that when strung with framing wire, the piece will lay flat against the wall when hung in place. </span><br />
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Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com3tag:blogger.com,1999:blog-3431073205881767294.post-18601033458845948512014-12-27T12:04:00.001-08:002014-12-27T19:41:54.019-08:00How to make a Hangng Sleeve<div class="HTMLBody">
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<span style="font-family: Verdana, sans-serif;">My artwork
has appeared in a number of exhibitions in art galleries and in museums. People
are always interested in how a textile artist presents their art for such
events. Because I design 3-layered textiles in quilted form, which are created
to be displayed on walls, I have two ways of preparing my work to be included
in gallery venues. A traditional method follows:</span></div>
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<span style="font-family: "Verdana","sans-serif";">An
inexpensive, traditional method would involve preparing a 4” wide sleeve that
is attached along the back edge of the piece. The purpose of a hanging sleeve
is to evenly support the weight of the quilt. The double sleeve, resembling a
tube, also protects the quilt from being damaged by the hanging rod, dowel, or wooden
strip. To make the sleeve, you will need muslin or fabric to match the quilt
backing. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><u>Directions:</u><u><o:p></o:p></u></span></div>
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<span style="font-family: "Verdana","sans-serif";">Cut a strip
8½" wide and as long as the top edge of the quilt. Fold the piece lengthwise, wrong side
together. Stitch the longest raw edges
together with a ½" seam. Leave the two ends open. Press flat to make the
first crease and the fold along the bottom edge of sleeve. Press the raw seam to one side; it will
run down the middle of the casing. It will not show because the raw seam edge
will be flat against the quilt and can not be seen once sewn down. Roll the first crease down to form and press a
second crease ¾" – 1" from the first one forming some extra ease or
slack.<o:p></o:p></span></div>
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<span style="font-family: "Verdana","sans-serif";">Measure and
hem the ends so that the sleeve extends only to one inch on each side of the finished
quilt edges. NOTICE: The sleeve has some slack to accommodate the size of the
rod and to permit the quilt to hang flat. Without slack, the quilt might pucker
or bunch up along the hanging rod.<o:p></o:p></span><br />
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<span style="font-family: "Verdana","sans-serif";">Place & pin the sleeve on the quilt with the second crease along the lower edge of the
binding at the top of the quilt back. Using a Blind Stitch, sew along the
second crease and the bottom edge. No stitches should appear on the front side
of the quilt. You may also stitch along the open ends to attach to quilt back,
remembering to leave the opening for the rod to slip into.<o:p></o:p></span></div>
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Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-51172750157922569682010-04-11T10:46:00.000-07:002010-04-11T10:58:53.531-07:00Winging ItTime to develop creative ideas always seems to be in short supply. Actually finding enough time in the day, week or month frequently is a premium commodity all too often. I think, we have become victims to the intensity of the noise around us, which tends to agitate us rather than inspire us. We read of others’ success and great accomplishments, and wonder, What’s wrong with me? <div><br /><div>The perceived lack of adequate time pushes the artist to run into the studio and just start flinging supplies around hoping something wonderful will come out of the chaotic frenzy. Plowing full steam ahead may lead to spending time and money on a project that once finished, may be very disappointing. Trying new techniques and approaches without the benefit of experience and, yes, practice, can be fun and exhilarating but expecting awe- inspiring results can be deflating and anything but great. There’s nothing wrong with playing with your favorite supplies just to see what happens, but winging it is not recommended as a full time pursuit. One of my favorite sayings is, <em>Winging it can be an artist’s best friend or their worst enemy.</em></div><div><br />I am one of those people, who will try-out, rehearse a new technique or a new art supply just to see what happens. Can I use it in my art? Is it a viable alternative to some method I know and use frequently? Will the technique accomplish what I envision for an image? Mostly, do I understand and appreciate the tar pit I may fall into if I use this technique?</div><div><br />Consequently, I make small samples before incorporating a new idea into a larger work. My example is <em>Feather and Dot</em>, 9" x 12". The smaller portion is 4" x 6½" and is the results of <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZ2FDIsfRhjK7GeNczHEhdReiBFdQKhzWS3lmiAfLLMtTh1SbAzilMcukMZxS0gn4CVUghwuYaXSNS-_I4_jR2joZO9ugNkC5XfKEF9KYkOIjdzOMP79O7qq631suX7ieiRNUeyCdkDGo/s1600/feather+%26+dot++blog.JPG"><img id="BLOGGER_PHOTO_ID_5458939680766330050" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 226px; CURSOR: hand; HEIGHT: 320px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZ2FDIsfRhjK7GeNczHEhdReiBFdQKhzWS3lmiAfLLMtTh1SbAzilMcukMZxS0gn4CVUghwuYaXSNS-_I4_jR2joZO9ugNkC5XfKEF9KYkOIjdzOMP79O7qq631suX7ieiRNUeyCdkDGo/s320/feather+%26+dot++blog.JPG" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyaSf-o9ejU7EWZi723SGWOpioj1f0zpH4Le4sWdSO1W7Rt_C46wg0Bn_v-wRQwCMyvaQGQCG0RZnazvsbhpAilEzUQf1aD_3N3yCt9gHXZKV4NQZSIASUH9ydxVnHgyVkl0Bbrb1zQ5_7/s1600/feather+%26+dot++blog.JPG"></a>experimentation with a new supply in my arsenal. I like using tulle netting as shadows in my pictorials. I read about spraying tulle netting with "505® Spray and Fix", a temporary fabric adhesive, to position a single layer of tulle. I needed to know does it work? And, is it easier than another method of attaching netting? Yes, and the one pitfall is, the netting remained sticky to the touch for a very long time. Until the adhesive evaporates on tulle netting, it will attract dust, bits of thread and, I suppose flies and mosquitoes, although that did not happen. </div><br /><div>The lessons learned were the advantages and disadvantages using 505® spray on some textiles. Making a small sample meant I didn’t lose 10 days on a larger piece because of tacky tulle netting. I also learned to place whatever I wish to spray with<br />505® in the bottom of a cardboard box to contain the spray droplets from lending stickiness to other nearby surfaces. It has its uses, is a great product, but one must read and follow carefully the instructions on the label. </div></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com4tag:blogger.com,1999:blog-3431073205881767294.post-65318246209914626742010-04-04T09:54:00.000-07:002010-04-04T10:21:22.310-07:00Pattern Envelope ContentsBecause I am preparing for an art gallery show in July, and also working towards having an entry to meet the May deadline for the annual Houston show, the clasp envelopes I use to keep everything in order are the only "control" I have over potential chaos. When completed, each file goes into a file cabinet.<br /><div><div><div><div><br /><div></div><img id="BLOGGER_PHOTO_ID_5456327566654386610" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 150px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXXZn8T73Iypq622sLy9eVOLbJYkv4vOpSwEMQMZTgruXHFWXKcSN5B3V4yIXEVJGr41FGrVPpEjJ1aYs6oR-Fj3NwTdtRa8SQ8KbEwT1ZJRsjeDNyEyadFxw-ypaWvSeAiJA_m5ifl8cm/s200/Pattern+Files2.JPG" border="0" />The question may be what kinds of items go into each envelope?<br /><div></div><br /><div>Using <em>Badlands</em> as an example that I have just pulled from my file cabinet, I open the labeled envelope and find not only the Master Pattern, but also, I discover small sketches of the beadwork pattern used on the jacket and the experiments I made to create the faux beadwork. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6JuugFGkXV6DQR69ATXnHrh9dwmHdVLkkKxv7Qyb1tnEpFuY5p2jx2ygkIaFXT06Syc26E_MU2OZ936knPkVDtf756RPhUdIw1dBMyImVl98jtTvNpOmqlcTZYF8a6ZMlTm_HTqz794yg/s1600/Badlands2.jpg"><img id="BLOGGER_PHOTO_ID_5456328449692909378" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 150px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6JuugFGkXV6DQR69ATXnHrh9dwmHdVLkkKxv7Qyb1tnEpFuY5p2jx2ygkIaFXT06Syc26E_MU2OZ936knPkVDtf756RPhUdIw1dBMyImVl98jtTvNpOmqlcTZYF8a6ZMlTm_HTqz794yg/s200/Badlands2.jpg" border="0" /></a>A deadline prevented me from </div><div>learning genuine beadwork, which is taught locally by Native American artisans who learned from their grandmothers. Neatly folded are the tracing paper template patterns I followed of various sections in the master design. There is a small practice swatch of a border quilting design I did use. Each piece serves to remind me what occurred during the process.</div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI8Dh5Hk6K0D7vbmSJSrII3p2JZeAPCXhg1MRHYCP6JFhMJVdnKDDKHogGrlssntqqP32f5rJiqJssgXQ79yxCiwzfgpzKJ_kmq5G5xw2Akqce1N2Ukg3KBwNrwHLMj71k-XbJ-oGUbnFt/s1600/Scout+choices.JPG"><img id="BLOGGER_PHOTO_ID_5456329897228098594" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 150px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI8Dh5Hk6K0D7vbmSJSrII3p2JZeAPCXhg1MRHYCP6JFhMJVdnKDDKHogGrlssntqqP32f5rJiqJssgXQ79yxCiwzfgpzKJ_kmq5G5xw2Akqce1N2Ukg3KBwNrwHLMj71k-XbJ-oGUbnFt/s200/Scout+choices.JPG" border="0" /></a>For current work, I will place in its envelope a sample swatch of each fabric selected & glued to a recycled shirt cardboard, and the tracing paper template from which each piece is cut from freezer paper. I do not cut up the tracing paper template because I need it to keep an accounting of what has been done. Rather I make a freezer paper copy that is cut apart to make each fabric piece. If I am interrupted by another concern, when I come back that traced pattern serves to help focus me where I need to be without spending time matching and comparing, wondering and spinning wheels. The full size master pattern is on a wall and does not come down until the work is completed. It, too, is my reference guide throughout the work.</div><div><br />Another bonus for keeping envelopes is I love sorting through any envelope because I will discover notes written to me so I would not forget flashes of ideas during the building of a wall hanging. Revisiting former designs provide me with reminders of possible titles I conjured up in the middle of cutting or stitching. Ideas are written on a scrap of paper or on the Master Pattern. There may also be an address or a quote I heard on the TV or radio. Who knows what I will find on any piece of documentation? Occasionally, it can be down right hilarious to see the notes I wrote to myself, which leads me to ask another question, <em>What in the world were you thinking, Carol?</em></div><div><br />The clasp envelopes are my documentation of each work that I create. If I ever wish to piggyback from a former work and use an element in a different manner in a new work, I can open any envelope and find the starting point. I can read my notes of inspiration to cheer me forward to completion of an original idea with a different viewpoint. Or, I can be reminded of pitfalls I may have encountered along the way. Either discovery is highly useful.</div></div></div></div></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com2tag:blogger.com,1999:blog-3431073205881767294.post-85546909416388044562010-03-28T09:21:00.000-07:002010-03-28T09:37:45.744-07:00My Patterns FileWhen I speak of <em>My Patterns</em>, these are not sale items but are a collection of all the paperwork involved with my artwork carefully filed in one place. One element of my organization plan, which is rated very high on my list of necessary things-to-do, is the careful keeping track of and containing all the bits and pieces of each new project from the beginning sketches to its conclusion. My system is fairly easy and goes far towards keeping track of stuff especially in the middle of the designing debris and chaos. It is most helpful during those times when I am designing and working on more than one idea, doing what I call ‘leap-frogging’ from one project to another. Who does not work on more than one task? The brain becomes tired with concentrating on only one design challenge at a time.<br /><br />Each artwork begins with rough sketches as I try to capture the essence of an idea. As I zero in on the plan and begin to expand the concept, I will pull out a crisp, new 9 x 12 clasp envelope to make ready for containing all the bits and pieces: sketches, procedural notes to myself, and anything having to do with the design at hand. As time marches forward, the envelope is labeled and filled so nothing is lost because of chaotic studio effort. If the project is extra large in size, a 2nd envelope is started for the master pattern and any related sections used to make templates.<br /><br />When the title for the art is determined, it is written on the envelope, and eventually a listing of contents is added for quick future reference. Each envelope is placed in alphabetical order in a metal filing cabinet, where each creative endeavor can ‘talk’ to one another about their high-ho times in my studio. Yes, my imagination tells me, that the envelopes start whispering to one another after I close the drawer.<br /><br />This filing cabinet is important because I am able to return to artworks done years ago, open an envelope to refresh my working memory of any project. What did I learn from it? I have also on occasion borrowed from past work to launch a new and different one. I call it piggybacking, which makes further use of a great deal of designing effort performed earlier. I do not always have to re-invent the wheel with every new creative tasking.Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-87352641436619936402010-03-12T07:04:00.000-08:002010-03-12T07:30:02.923-08:00The Inner Voices?I appreciate musings about how to find the inner voice because it implies there really are voices that whisper motivational messages into the inner sanctum, which force the creation of superb examples of artistic talent. Oh, what if I do not hear the voices? What is wrong with me? And, if I hear conflicting advice from the sanctified ramblings, am I ready for the funny farm? The simple answers are: Don't worry...Nothing, and...Maybe, yes.<br /><br />Let us become a little more realistic about that inner spirit each of us possess. Is one suppose to actually feel its presence, guidance and influence? The voice you are suppose to hear is YOURS, you are the Muse, and not some ethereal spirit waving a magic wand over your head. In order to tap into that part of your being, you have to give it space, quiet and freedom to do the back-flips you expect.<br /><br />Your Muse requires frequent feeding, something like fertilizer we spread upon the flower beds to make the blooms pop open. A complete Muse fertilizer may have a variety of ingredients: Books, music, time alone, silence, sleep, change of scenery, nutritious food, sensual contact, moving at a snails pace as in slow down. The special ingredients are a little different for each of us. For me, in addition to the ones already listed, a glass of a very good wine, and the daily walks with my dog and husband are important. Ho-hum? Not at all, such things provide needed diversion for my Muse.<br /><br />My Muse requires time and space for massaging the ideas and influences that may contribute to the really big idea worthy of my time and effort. She does rebel when overloaded with too many expectations, and she will shut down, go flat and stall. For many artists, we are our own worst enemy, in a sense, because we place such demands upon our Muse. We beat on her, expecting instant results, inspiration and blinding insight. We demand she run the marathon, meet the deadlines, weave fabric into golden panels, crank out those pieces of art to inspire awe from the public, and to keep up the frantic pace. Our personal Muses are often overworked with no time allocated to recuperate, repair and prepare for the next round of creative activity. We provide little time for getting anything in order and expect everything to be sensational. And, when it does not happen, we think "there is something wrong with me".<br /><br />For those having a problem with kick-starting your Muse, give yourself permission to take a break to refresh yourself and your Muse that so much is depended upon. She's in there, she's just tired and needs a vacation from her benefactor. Or, perhaps she needs a boost with another plan of attack, another perspective, or a re-evaluation of the other priorities that weigh on the creative processes.Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-279683420471188972010-03-11T11:14:00.000-08:002010-03-11T11:24:12.456-08:00Trumpets of SpringIn my past posting, I mentioned the yellow crocus that had survived the ice storm, and announced that the jonquils have bloomed. This cluster is ever faithful and poked up through the dark brown soil when I needed a boost in spirits the most. How can anyone be a grump when she spies the resounding joys of jonquils? These perky blooms are the ones I used last spring as inspiration for one piece in my garden series last year.<br /><br /><img id="BLOGGER_PHOTO_ID_5447457111599341714" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 240px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKRiRUadq3UK5ktLtIun4B3Zrs49A_bkOpHk_Y6v0fRp-qmTsz5B12cNS2gmPhw8lOaOrIzhZ-XT6o5iiUWXH62Xlx1XXFogRbyv1wm1VDr_aOFo6ZvhSWtXLM6luebcCAVWUB7XnXbxtj/s320/Daffodils+blog006.jpg" border="0" />Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-40976167540249668492010-03-11T08:54:00.000-08:002010-03-11T09:30:01.698-08:00Back Fence Conversation<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjGcY89eL8jVvel_LWwCjYLsrMSQJeXWgjl35jZtmbXnup1ORuDSNgayNi_aKDEDBucsbdBqlYywTB4IXVecCw4KYFcrSWuijOakioAh6wTf6VIl9r8bnxE2zmnGguCNRfFSDfGaR9Yx8/s1600-h/Back+Fence+CAS.jpg"><img id="BLOGGER_PHOTO_ID_5447425473589517170" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 274px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjGcY89eL8jVvel_LWwCjYLsrMSQJeXWgjl35jZtmbXnup1ORuDSNgayNi_aKDEDBucsbdBqlYywTB4IXVecCw4KYFcrSWuijOakioAh6wTf6VIl9r8bnxE2zmnGguCNRfFSDfGaR9Yx8/s320/Back+Fence+CAS.jpg" border="0" /></a>This time of year, there are many articles written offering help on many topics. Recently, I read an article about recommendations for starting home improvement projects and was struck by how similar the suggestions were to what I generally follow when creating my pictorial art.<br /><br />• <strong>Plan-Plan-Plan</strong>. <em>Winging it can be an artist’s best friend or the worst enemy.</em> Acknowledge the difference. Establishing goals and milestone markers fall under this idea, too.<br /><br />• <strong>Spousal support</strong>. No one needs a spouse laying cinderblocks on your creative path, stopping forward moment. Frequently, a spouse views these creative impulses as silly until the first works are sold, then suddenly, the light goes on and understanding is reached, as in "You can actually make money doing this stuff?"<br /><br />• <strong>Ask for Help</strong>. Plowing ahead can ruin some great projects. Asking for help does not mean you are committed to following that help or direction. Example: I ask my husband frequently what he thinks of a new idea I have or what he sees during the initial stages of a new work. I also tell him up front that the question does not require him to make a decision or take action. It is just talk, feedback that I need, and I may not follow his advice. He has learned to understand what I am asking and does not sulk when I ignore his opinion or suggestions. No spouse? Establish a small support group of artist friends to handle this concern.<br /><br />• <strong>Be realistic</strong>. Do you want to invest the time and money? Do you have the skills to do the project? If not…<br /><br />• <strong>Develop the Skills you need</strong>. Take classes and workshops. Read. Research. Experiment. Do the baby steps that will advance your mastering of skills and techniques required to reach the anticipated end results. This step also has great long-term benefits because <em>an artist’s next project will be better than the last one.<br /></em><br />• <strong>Create a Budget.</strong> Determine the limits you are willing to spend if you have a tight budget. This is simply making the most of limited resources in order to reach the artistic goal. This may also suggest that conflicting budgetary demands may require re-evaluation and family cooperation. Where can I save money elsewhere so that I have the resources for the new projects? Again, be realistic, focus and be choosy about the next effort.<br /><br />• <strong>Create a Materials list.</strong> Identifying the supplies needed in advance of starting a new work will reduce wasted time rounding up stuff, trips to the store, or waiting for the arrival of postal delivery. This step also saves money.<br /><br />• <strong>Buy the right tools.</strong> This suggestion is not meant to provide the go-ahead to buy more tools. Rather, it means having the correct tools for specific tasks that the project requires, which eliminates frustration, poor workmanship and possibly on-the-job accidents. Invest in good quality tools, the best that you can afford. You may have to be patient and save up for the quality. You will have them a very long time and you will be happier. <br /><br />• <strong>Take care of the tools.</strong> Properly clean, repair, sharpen, oil, and put away carefully at the end of usage means those tools will be available the next time. I still use paintbrushes that I bought 30 years ago because I bought the best I could afford, and carefully cleaned them every time I use them. I wipe off my good scissors, periodically clean the rotary cutter, and have my sewing machines routinely serviced.<br /><br />• <strong>Measure Twice. Cut Once.</strong> Carpenters know this mantra–by–heart because it reduces waste and mismatched seams. If one is an artist that free–cuts and doesn’t like measuring anything, this tip may simply suggest that paying attention to what you are doing may eliminate the pain and suffering of not meeting the expectations.<br /><br />• <strong>Be safe as you work.</strong> Developing good work habits may spare the artist injury from inhalation of toxic fumes, from the tools and from the lack of concentration as you are working. Be aware of your surroundings and what you are doing to protect yourself, but also to shield little children and perhaps your pets that share your workspace. If your mind is wandering, stop and do something else.<br /><br />My final word of advice is:<br /><br /><br /><em>A cluttered workspace leads to muddled thinking and chaotic working, which interrupts the workflow in general. </em>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-46530151230520809672009-10-11T14:46:00.000-07:002009-10-11T15:07:02.288-07:00The Alliance for American QuiltsThis past week I was honored to be interviewed for the project called, "S.O.S.–Save Our Stories: The Alliance for American Quilts. I was interviewed by Karen Musgrave who asked me to share a photo of my quilt, <em>Prairie Thunder,</em> for the archives, and to discuss my work: what inspires me, what is my creative process for making my textile artwork, how did I become interested in quilts and other personal insights. I was also asked to provide my views on other quilt-related topics, such as the meaning of quiltmaking in women's history.<br /><br /><br /><br /><p><img id="BLOGGER_PHOTO_ID_5391466256867574354" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 264px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3hyUxDN_jOZRkv0N65XAgJOOH8QwVtdazN6y7jZru2JQbf0x5m5isbKfQh26CMqFqRdKBbGap_mWssmyLZa0g-wT7oKoc9B32lA0KZq3w6gb1TNlCaufezYwVfepygEaklVU9SOnH4AJa/s320/Prairie+Thunder+06.jpg" border="0" /><em> <span style="font-size:85%;">Prairie Thunder</span></em>, <span style="font-size:85%;">67" x 54"</span> <span style="font-size:78%;"> (in a private collection)</span></p><p>Knowing that I am one among 1,000 participants-to-date in this program, I was highly complimented by the invitation and thoroughly enjoyed the opportunity. To realize that my words and my voice have been archived for use by people conducting research, and I suppose, by those who may be curious, is a humbling thought. I am grateful.</p>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com2tag:blogger.com,1999:blog-3431073205881767294.post-47171457964129912462009-09-24T12:25:00.001-07:002009-09-24T12:27:43.210-07:00Anticipation<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8qSvRbZUZ9mx5G62kISdUI9VhNKADf0kGO6fW-XePtktd9ICi-l_q5aZca4ZJftL7sUt_WoACg0upUiHx3WZohGE56MeJ1bPAa6sqFlSOGeBiMtk7fKulBtng0ALISPQEGK17ne5_XsX/s1600-h/Firestorm_Full+small.jpg"><img id="BLOGGER_PHOTO_ID_5385117673001779042" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 270px; CURSOR: hand; HEIGHT: 320px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8qSvRbZUZ9mx5G62kISdUI9VhNKADf0kGO6fW-XePtktd9ICi-l_q5aZca4ZJftL7sUt_WoACg0upUiHx3WZohGE56MeJ1bPAa6sqFlSOGeBiMtk7fKulBtng0ALISPQEGK17ne5_XsX/s320/Firestorm_Full+small.jpg" border="0" /></a><br /><div>With the swing of the weathervane, the recent winds have been coming from the North, which means cooler temperatures. These refreshing temperatures have fired up my energy for tackling the laundry list of ideas I have been accumulating all summer. I’ve completed a series of small works and will post them another day.<br /></div><br /><div>Today, however, I am very excited anticipating the International Quilt Festival in Houston next month. I have received the magic phone call telling me that <em>Firestorm</em> has received an award, but I won’t know the details until October 13th.</div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com3tag:blogger.com,1999:blog-3431073205881767294.post-12873359854810073452009-09-07T13:41:00.000-07:002009-09-07T13:44:07.508-07:00End of Summer Road Trips<div>Lately, I have been on the road providing lectures and workshops to quilting guilds. It’s an activity I truly enjoy because I get to connect with quilters of all age groups, level of expertise, and favored style of quiltmaking. It never fails to inspire me to associate with people who love to play with fabric to create wonderful textile art and are willing to share most everything with one another. I always learn so much from other quilters and am grateful for being able to meet each and every one.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWa4t4hv5lN6RqBw5fCb2KFFNZPiNqTRIUwhKfH9nykf-2p-m03ZDv57Z_rCGrKATGdw1pi4vnTtnIYjvFD6NuA8X8u43ij6cErZ48jZeXXHc5UnEg8ehICeYqD4C5ksGtNyiFUhqX0IH4/s1600-h/Sante+Fe+Cat+blog+(Small).jpg"><img id="BLOGGER_PHOTO_ID_5378828906738595234" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 302px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWa4t4hv5lN6RqBw5fCb2KFFNZPiNqTRIUwhKfH9nykf-2p-m03ZDv57Z_rCGrKATGdw1pi4vnTtnIYjvFD6NuA8X8u43ij6cErZ48jZeXXHc5UnEg8ehICeYqD4C5ksGtNyiFUhqX0IH4/s400/Sante+Fe+Cat+blog+(Small).jpg" border="0" /></a></div><div><br />As a reward for getting through this summer heat, I’ll jump in my car again and drive to Santa Fe for my annual renewal of creative zing that only the rarefied air of New Mexico’s capital can provide. I always find great subject matter for my quilted art, such as, <em>Santa Fe, #304</em>.</div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-38063784597322725472009-08-07T13:44:00.000-07:002009-08-07T13:49:44.337-07:00Garden Influences<div>There’s a full moon now but like the summer days it will soon begin to wane, although the high heat remains unrelenting. I don’t believe I can fault the full moon for my lack of energetic activity in my studio, but I am able to blame my inertia to the depressing heat, 101° F. today.<br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXXXV87xmRrLRqksf5lK8nODRrgvA_v516866KUd8udMKbpkag-l87ItfSSyt9mQ7XbEs3Rw5Gj75phgONTsre_OKuDlg9IiwGLAc35vfIysl-LMFT9fNxK-VNH1U68R6McXgjc4rb-Pz-/s1600-h/July+moonflowers.jpg"><img id="BLOGGER_PHOTO_ID_5367326033415386018" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 150px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXXXV87xmRrLRqksf5lK8nODRrgvA_v516866KUd8udMKbpkag-l87ItfSSyt9mQ7XbEs3Rw5Gj75phgONTsre_OKuDlg9IiwGLAc35vfIysl-LMFT9fNxK-VNH1U68R6McXgjc4rb-Pz-/s200/July+moonflowers.jpg" border="0" /></a> It doesn’t really matter for there will be a ‘dance of the moonflowers’ in my garden tonight. I noticed the two bushes are once more loaded with buds that are promising to pop open after dark to fill the air with wonderful scent. The full moon will spotlight the blooms. It’s always a fun little festival when this occurs. </div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSARMx9ryCCJcQcm62i7_2A5M3vFCsmFGx9bxKCc17FlhLYRbpR-1maewykQsLXsthl7wBGGMx3Zw6CP3BDpVH289NB2ca7iuhfGYhXkObEiowRY8NlZJ8r1ZIXHXrzLdPkoetuoGbu1ih/s1600-h/Moonflowers+Blog.jpg"><img id="BLOGGER_PHOTO_ID_5367326412997728178" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 244px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSARMx9ryCCJcQcm62i7_2A5M3vFCsmFGx9bxKCc17FlhLYRbpR-1maewykQsLXsthl7wBGGMx3Zw6CP3BDpVH289NB2ca7iuhfGYhXkObEiowRY8NlZJ8r1ZIXHXrzLdPkoetuoGbu1ih/s320/Moonflowers+Blog.jpg" border="0" /></a> <div>I understand why this flower was among Georgia O’Keeffe’s favorites. It’s just a wild weed, but the plants provide endless pleasure and have inspired one of my favorite wall hangings. </div><div> </div><div><em>Moonflowers at</em> <em>Midnight</em></div><div><span style="font-size:85%;">42" × 35 " ©Carol Ann Sinnreich</span></div></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-28705481019251105012009-07-28T09:48:00.000-07:002009-07-28T10:09:58.545-07:00Dog Days DominateIn the last posting I wrote about the spectacular thunderstorms, which added wonderful shades of lively spring colors to the visual appeal of the prairie. It was incredibly exciting to drive over a hilltop and witness rolling greenness under a brilliant blue canopy. The open sky is what I love about this part of the USA.<br /><div><br />In all fairness, the summer in SW Oklahoma as well as in Texas has been brutal with weeks of triple-digit temperatures and little rain. The ranchers are taking another hit with dried up pastures and low water levels in ponds for their livestock. The temperatures have forced me to hide indoors embracing the air conditioning vents and thanking Willis Carrier for being so clever. The dog days of summer trigger sympathy for the polar bears as they wait for the returning ice floes to provide relief. </div><div> </div><div> </div><div>During the last brutal blast of summer heat in 1998, I designed a landscape to acknowledge what was happening out there on the prairie day and night, and in church on Sunday mornings.</div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xBv5xzv644jMG-LdJCs6QU4uJqnysq-oS8X-opPlhMVFLRdvmYh3mZNS15OaXeloDzz_g1qMxU7NPm9imTIDXnlOtWWTIBKVqD2EEVXX3aH06egfQK8FI1Bpg5fcfFhNlgtei2irNX1o/s1600-h/Summer+Prayers+blog.jpg"><img id="BLOGGER_PHOTO_ID_5363554629001860274" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 251px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xBv5xzv644jMG-LdJCs6QU4uJqnysq-oS8X-opPlhMVFLRdvmYh3mZNS15OaXeloDzz_g1qMxU7NPm9imTIDXnlOtWWTIBKVqD2EEVXX3aH06egfQK8FI1Bpg5fcfFhNlgtei2irNX1o/s320/Summer+Prayers+blog.jpg" border="0" /></a></div><div>The scenario is repeated this year as</div><div> in <em>Summer Prayers</em>,</div><div><span style="font-size:85%;">©Carol Ann Sinnreich.</span></div><div> </div><div> </div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xBv5xzv644jMG-LdJCs6QU4uJqnysq-oS8X-opPlhMVFLRdvmYh3mZNS15OaXeloDzz_g1qMxU7NPm9imTIDXnlOtWWTIBKVqD2EEVXX3aH06egfQK8FI1Bpg5fcfFhNlgtei2irNX1o/s1600-h/Summer+Prayers+blog.jpg"></a> </div><div> </div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xBv5xzv644jMG-LdJCs6QU4uJqnysq-oS8X-opPlhMVFLRdvmYh3mZNS15OaXeloDzz_g1qMxU7NPm9imTIDXnlOtWWTIBKVqD2EEVXX3aH06egfQK8FI1Bpg5fcfFhNlgtei2irNX1o/s1600-h/Summer+Prayers+blog.jpg"></a> </div><div> </div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xBv5xzv644jMG-LdJCs6QU4uJqnysq-oS8X-opPlhMVFLRdvmYh3mZNS15OaXeloDzz_g1qMxU7NPm9imTIDXnlOtWWTIBKVqD2EEVXX3aH06egfQK8FI1Bpg5fcfFhNlgtei2irNX1o/s1600-h/Summer+Prayers+blog.jpg"></a> </div><div> </div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-66817035200245725262009-06-11T08:52:00.000-07:002009-06-11T09:10:47.650-07:00Springtime on the PrairieRecently, waves of bold thunderstorms have crossed the Oklahoma’s prairie anointing the winter parched earth with much needed rains. Unfortunately, the timing of these spring storms have been either too late for the ranchers, or in time to disturb the wheat harvesting. And yet, happily the lakes are now brimming, the waving prairie grasses are green, the brightly colored wildflowers are abundant and, for the time being, the prairie and its animals are no longer thirsting for water. All is verdant and lush, the birds are singing and new animal babies are frolicking for the fun of it. It’s a great deal more appealing than anticipating the prairie fires, which may occur in the drier months ahead.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinSGgXOeDYBMIhX_iQaELDmuMLoBei10enSx0pYQWBmFmSaN14vpECLz5rZiuPfUub1cpYhvrxH73yJgCemjngnP-wu4bIORGX4cl2-Z-HuZOF_RTDd6HzswYEEkN6H-0lNE01aW6a54Mf/s1600-h/Firestorm_Full+small.jpg"><img id="BLOGGER_PHOTO_ID_5346100202195998962" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 270px; CURSOR: hand; HEIGHT: 320px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinSGgXOeDYBMIhX_iQaELDmuMLoBei10enSx0pYQWBmFmSaN14vpECLz5rZiuPfUub1cpYhvrxH73yJgCemjngnP-wu4bIORGX4cl2-Z-HuZOF_RTDd6HzswYEEkN6H-0lNE01aW6a54Mf/s320/Firestorm_Full+small.jpg" border="0" /></a><br /><div> Visually for the artist in me, this new season is a joy to witness particularly since I spent much of the late winter finishing my newest work, <em>Firestorm<strong>.</strong></em> I have been focused on the power, the heat, and total devastation of a forest fire, its impact on frantic animals seeking refuge in a lake, and trying to recreate with fabric a pictorial representation of it all. </div><div> </div><div><em>Firestorm</em>, <span style="font-size:85%;"> 51" w × 61" l</span></div><div><span style="font-size:85%;">©Carol Ann Sinnreich, 2009</span></div><div><span style="font-size:85%;"> </span><br /><br /></div><div></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com3tag:blogger.com,1999:blog-3431073205881767294.post-83649010232744088852009-04-14T20:29:00.000-07:002009-04-14T20:36:31.211-07:00Backbone of My WorkI am frequently inspired by my Oklahoma environment as well as by the histories I read. Today as I walked with my dog down a dirt road around an isolated reservoir I was enchanted by the wispy white clouds in the cerulean sky, the bright sunshine, the bold breezes swirling the dried grasses and the tree thickets spouting green lace in their crowns. I love my time on the prairie because the structure of the earth is so obvious and appealing for me. My dog thinks it’s great, too.<br /><div><br />On these walks it is not unusual to flush wildlife. Today it was a covey of quail. Yesterday it was white tail deer. Sometimes it’s a flock of wild turkeys. We’ve even caused rooting wild pigs to scatter and that was a bit exciting. I never know what I’ll see and am always delighted because these sightings enter my imagination, stay there and begin to formulate images to incorporate into my pictorials. </div><div><br />The one thing I can do well is draw. I believe that drawing is the backbone of good artwork. I make many sketches as I work out an idea. As I focus on the one that will produce a final composition, I will work harder on capturing the details. It’s not wasted time because these drawings familiarize me with my subject and helps me anticipate where I will have challenges when translating the composition into a fabric representation.</div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiln-sJoJH_8Gw383EtEVOxMaBrDMvHYv2lIChuS8N2ZzFyB8EA5TLTYV7e2d9h0yVhVkl7mN9uGdhhuhUECiUSxkhJLs1AWJv8Quz2sOYOnaCvLFQuNqAnTvW3rhi1DoXKtR0P4fcl55ys/s1600-h/Firestorm+doe.jpg"><img id="BLOGGER_PHOTO_ID_5324755719537311954" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 131px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiln-sJoJH_8Gw383EtEVOxMaBrDMvHYv2lIChuS8N2ZzFyB8EA5TLTYV7e2d9h0yVhVkl7mN9uGdhhuhUECiUSxkhJLs1AWJv8Quz2sOYOnaCvLFQuNqAnTvW3rhi1DoXKtR0P4fcl55ys/s200/Firestorm+doe.jpg" border="0" /></a><br />That deer from the other day has been added to my current work. I have a knack for being able to turn an animal around and draw it from any direction. The deer was leaping away from me, but in this piece, the doe is running at the viewer. Here is the master drawing I am using to assemble the deer. </div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com1tag:blogger.com,1999:blog-3431073205881767294.post-5489054043681229862009-03-18T09:09:00.000-07:002009-03-18T09:14:04.173-07:00Photo MorgueDuring the development of a new design, I rely upon my drawing skills and art experiences to establish the integrity of an idea, a new design. Accuracy of details is important to me. I maintain a variety of reference materials to assist the effort: anatomy books, historical photos as well as a wealth of digital images I have taken, plus postcards, and clippings from magazines and newspapers.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkv7ld_VewmEK2Ju9jsPnSM1q5AYlwvWiVV4GpOCqdgm3N-n1DtEc6qOPBBdwemB54GPTVXB_k-BEo5VrseZpljXLpGHyeQLC88NjZefxj9zeKV5WXLeENY6aOKZLa-3Y2XmJ4Zl3PPVNN/s1600-h/Photo+Morgue+02.jpg"><img id="BLOGGER_PHOTO_ID_5314560971518847138" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 150px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkv7ld_VewmEK2Ju9jsPnSM1q5AYlwvWiVV4GpOCqdgm3N-n1DtEc6qOPBBdwemB54GPTVXB_k-BEo5VrseZpljXLpGHyeQLC88NjZefxj9zeKV5WXLeENY6aOKZLa-3Y2XmJ4Zl3PPVNN/s200/Photo+Morgue+02.jpg" border="0" /></a>Many artists keep a photo morgue, which is a collection of ephemera. My collection is carefully filed in four file boxes. My computer organizes my digital images and I do make CD copies of my photos. And lastly, books, I buy lots of reference books.<br /><br />I can’t possibly have instant recall about body movement of people or animals, nor remember what period clothing looks like. I rely upon my photo morgue and other references to assist me with details. However, I do not copy directly from any source. That would be an infringement upon another person’s copyrighted creative effort. I am emphatically diligent about respecting Copyrights.Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-1226626821481550912009-02-13T14:41:00.000-08:002009-02-13T14:55:51.139-08:00Ideas & Research<div>Where do I find my ideas for my work? Firstly, as a child my imagination was fueled by Walt Disney animated films. In my mind, the occasional scampering mouse in my home is wearing a little sweater and cap; his name is always Ben. The incredible Disney artists of those early films introduced me to drawing and creative ideas. Art school and life's experiences refined my approach and technique. </div><div><br />My imagination is always the starting point. I live in Oklahoma. People, open sky-vistas and history of the old American west surround me and make me pause to consider possibilities. I love reading 19th century histories and diaries, which does spark many ideas. Also, hiking at the nearby wildlife refuge allows me to see deer, coyotes, elk, bison, long horns, and, yes, hawks making lazy circles in the sky. These critters prove to be equally fascinating and subjects for my textile art. I carry a sketchbook and a camera. </div><div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqzsj1Q2XZGFbgh-i1CIJFedMQJTpMdBTJna3_ry74hkb_2vbsuK6vB8co5Qu4PXmQjqyu1iILupPeVF_sPwPIrdYb7BK8you1xsh3ABh-cESF7TriERU5kOepzunMWA-c-_gXmH5lDPeV/s1600-h/Pony+blog.jpg"><img id="BLOGGER_PHOTO_ID_5302416768507265298" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 288px; CURSOR: hand; HEIGHT: 225px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqzsj1Q2XZGFbgh-i1CIJFedMQJTpMdBTJna3_ry74hkb_2vbsuK6vB8co5Qu4PXmQjqyu1iILupPeVF_sPwPIrdYb7BK8you1xsh3ABh-cESF7TriERU5kOepzunMWA-c-_gXmH5lDPeV/s320/Pony+blog.jpg" border="0" /></a></div><div>"No Time To Waste" began with reading a brief history of the Pony Express. Immediately I started hearing the drumming of hoof beats, then I "saw" the distant rider gaining size as he approached the station. Soon the dogs started barking to announce his approach; then, the waiting riders began to shout while rounding up fresh horses. This image in my mind started swelling and took shape with many rough sketches until I found the tableau I wish to prepare. If I don’t "see" and "hear" an idea in my head, a design will hardly blossom. </div><div><br />If I am portraying an era, I believe the details must be as accurate as possible. I do research by looking at period clothing, tack, and other items at a local museum, which permits me access to their collections. The staff also allows me use of their extensive library, where I study old catalogs and other reference materials. And, yes, I have assembled home library of references.<br /></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-68415104852715953442009-02-01T10:05:00.001-08:002009-02-01T10:25:54.501-08:00Padded Hangers & Hanging Bags<div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjwfJilyJe13WTzMqS04I8sqmRuT9IGGdp__FJkqkI-foza0Mr2rsE6MJiAuVYYnME0gB5OPTm1sFvYLPoVrziVGGBGZ2WOn4QT0cH0HvrprGvsds7HN4kBAFcmPeJK3T2DUcOa-jtHx8/s1600-h/Padded+Hanger2.jpg"><img id="BLOGGER_PHOTO_ID_5297891885294502178" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 175px; CURSOR: hand; HEIGHT: 288px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjwfJilyJe13WTzMqS04I8sqmRuT9IGGdp__FJkqkI-foza0Mr2rsE6MJiAuVYYnME0gB5OPTm1sFvYLPoVrziVGGBGZ2WOn4QT0cH0HvrprGvsds7HN4kBAFcmPeJK3T2DUcOa-jtHx8/s320/Padded+Hanger2.jpg" border="0" /></a> I prefer hanging my large bed quilts in a closet rather than wrapping each on a tube. I am equally meticulous about the hangers as I am with the tubes I use for rolled quilts. I bought my heavy-duty wire, blanket hangers from the dry cleaners. These inexpensive hangers came with a thick cardboard roller attached. Each hanger can adequately hold the weight of a large quilt with no sagging. Metal hangers may corrode; adaptations had to be made to protect the textiles. </div><div><br /> </div><div></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwb0fjofEmGMnR14zUu9o_QEkC78dlXBTxXvVmn_0hqLhMM2wf-KrPM2I4OFHOFcgMUgL_WyCoy-NM4APH1sfJ9UqpshD1f8BeMn75Mk7v9iGSMZm5zP0S6DAun6XGUHy-J0QACbTJ2QFT/s1600-h/Padded+Hanger.jpg"><img id="BLOGGER_PHOTO_ID_5297892871007923026" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 260px; CURSOR: hand; HEIGHT: 144px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwb0fjofEmGMnR14zUu9o_QEkC78dlXBTxXvVmn_0hqLhMM2wf-KrPM2I4OFHOFcgMUgL_WyCoy-NM4APH1sfJ9UqpshD1f8BeMn75Mk7v9iGSMZm5zP0S6DAun6XGUHy-J0QACbTJ2QFT/s320/Padded+Hanger.jpg" border="0" /></a></div><div>As with plain tubes, I wrap the roller on the hanger with aluminum foil, then apply strips of batting to pad the roller. I wrap the batting up the sides of the hanger to provide a barrier between the wire and the hanging textile. The batting strips are anchored in place with basting thread and large stitches. Wrapping the batting roll with pre-washed muslin is optional. The hanger is ready for the quilt. </div><div><br />I recycle projects that never made it into a show or simply lost their appeal into Hanging Bags to cover quilts or special clothing. Of course, one can make a "plain jane" bag from muslin but that’s boring. A plastic dry cleaner bag* can serve as a pattern, or, you can make a paper pattern by outlining the shape of the hanger shoulders. Be sure to add enough allowance to avoid the finished bag from being too snug to slide over the quilt on its hanger. I add a hanging tag to the bag for identification purposes. </div><div> </div><div> </div><div>*Please don't use plastic bags to cover textiles. Plastic retains moisture and could cause mildew.</div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com2tag:blogger.com,1999:blog-3431073205881767294.post-10827009228473084652009-01-31T14:37:00.000-08:002009-01-31T14:48:36.093-08:00Quilt Storage Tubes<div><br /><br /><div><br />As a consequence of volunteering at my local museum and working with its quilt collection, I like to roll my quilts on cardboard tubes that have been prepared following museum guidelines.</div><div> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMPjbEKTxf0AkttfcLNYSocka-iBO1F6D3LB4jsnmoplRFjI88a7QLFzk1blWxrQXsimfQWAmBgr3DyeRghZrPW9OTBLMCIPgScmeB_Lin2xTV2xON5hu4vY-mgKUFnmYNocAp3Tmskw9N/s1600-h/Quilt+Rolls+02a.jpg"><img id="BLOGGER_PHOTO_ID_5297591245211472738" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 269px; CURSOR: hand; HEIGHT: 201px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMPjbEKTxf0AkttfcLNYSocka-iBO1F6D3LB4jsnmoplRFjI88a7QLFzk1blWxrQXsimfQWAmBgr3DyeRghZrPW9OTBLMCIPgScmeB_Lin2xTV2xON5hu4vY-mgKUFnmYNocAp3Tmskw9N/s320/Quilt+Rolls+02a.jpg" border="0" /></a><br />I glean hard cardboard tubes from a local fabric store or carpet outlet. For smaller quilts, use the tubes from waxed paper or plastic food wrap. The first step is to wrap the tube with aluminum foil because the foil serves to trap and contain any gases emitting from the cardboard. After wrapping, tuck the foil into the tube ends to hold in place. Follow by covering the foil with leftover batting to pad the tube. </div><div><br />Pre-washed muslin is used to cover the padded tubing. I quickly hand sew a seam using an overcast stitch, the length of the tube to secure the muslin covering. Others like to use a strip of fusible to close this seam, but I’m concerned with the fusible breaking down causing the sticking chemical to permeate the muslin covering and contaminate the quilt. Simple cloth ties are used to hold the rolled quilt in place. A long cloth bag is constructed into which the rolled quilt is slipped. And, yes, I store more than one quilt on a tube. </div><div><br />To aid the quick identification of quilts once hidden away in cloth bags, I use hanging tags that are purchased from an office supply store. Each tag has a reinforced hole with a string for attaching to the bag. I write the quilt names in pencil on the tag and pin it to the bag so I can easily read the bag’s contents. I ten<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57D-8a5Te_GcSMQmF8DNsiGwEhN-cAyBuUX9qAWk21IYj_a1WCfFruRi-2TjrIcGWDYA19yqvdcsL38iivicGyNXrBly73upgqlGEsM4UHPG0g-TnIyYw49LtGFgfigKg5qn4Frw2alT5/s1600-h/Hanging+Tags.jpg"><img id="BLOGGER_PHOTO_ID_5297591707832084674" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 320px; CURSOR: hand; HEIGHT: 233px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57D-8a5Te_GcSMQmF8DNsiGwEhN-cAyBuUX9qAWk21IYj_a1WCfFruRi-2TjrIcGWDYA19yqvdcsL38iivicGyNXrBly73upgqlGEsM4UHPG0g-TnIyYw49LtGFgfigKg5qn4Frw2alT5/s320/Hanging+Tags.jpg" border="0" /></a>d to switch quilts from one roll to another over time, so I use pencil to write the information on tags. It's easy to erase pencil and I’m Scottish enough not to write new tag each time I pull a switcher-roo. </div><br /><div>Next posting, Hanging Bags for Quilts.</div></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com1tag:blogger.com,1999:blog-3431073205881767294.post-23376303217308042412009-01-30T15:10:00.000-08:002009-01-30T15:26:34.021-08:00Studio Reorganization<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiENtF1XcxsM7vwIjSb4n0O7RTDGPHSYO5T0HXX7DT_XvYo1MIcdiORyf1ZyoAFxm0dcFTVPtQJXQ2iB1146TSRozp8Fqx10ECoAsDUQo3tVN597lukR5VAVqYEjliLDJzX66VcVer_ZLYl/s1600-h/Before+2004+001.jpg"><img id="BLOGGER_PHOTO_ID_5297228354744180962" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 221px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiENtF1XcxsM7vwIjSb4n0O7RTDGPHSYO5T0HXX7DT_XvYo1MIcdiORyf1ZyoAFxm0dcFTVPtQJXQ2iB1146TSRozp8Fqx10ECoAsDUQo3tVN597lukR5VAVqYEjliLDJzX66VcVer_ZLYl/s320/Before+2004+001.jpg" border="0" /></a> Everyone hates to consider organizing h/her stuff. In the studio environment I believe it’s necessary in order to save time when the intense Creative Mode is engaged. Having to stop and search for supplies, tools and other items will severely hamper the process. I have just completed my studio refurbishing and reorganization, a great accomplishment for the New Year. And, yes, my studio lost body mass in the effort. That’s part of the Ruthlessness I mentioned in the previous posting.<br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQgg82uSSxxyBSsP-BqHcrSMgs0OGpsTiUGa_jq46UNUMKhDeWiJ0yUNLh2fzayqg5IN7COXWYx6cyjvXGov5X5AsQz1utip0MKq8WdglFnAUQsjDVMpHT8_fNAs3QPI2Y9bcbrh63drAY/s1600-h/Floor+plan+raw++.jpg"></a></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAWG498mBhj3aeCnEACAHsHw9LnAhn_ggWy0aPHsGAQTq6rEf-Pcwc-Fk1xOAqzRARlhvqats5-i7LJtdYDIwUD7giWBn5o7vDDZvkxmnwqX33nGy6gX4OEin3qB4U4cAmq1mtrsCRX5K1/s1600-h/Studio+08+floor+plan.jpg"><img id="BLOGGER_PHOTO_ID_5297230948744943426" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 263px; CURSOR: hand; HEIGHT: 213px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAWG498mBhj3aeCnEACAHsHw9LnAhn_ggWy0aPHsGAQTq6rEf-Pcwc-Fk1xOAqzRARlhvqats5-i7LJtdYDIwUD7giWBn5o7vDDZvkxmnwqX33nGy6gX4OEin3qB4U4cAmq1mtrsCRX5K1/s320/Studio+08+floor+plan.jpg" border="0" /></a></div><div>Following the floor plan I prepared, all has been returned to the studio. Five-double stacked shelves contain most of the fabric (see photo below). Three bookshelves hold miscellaneous supplies, and notes books that are used frequently. The sewing machines, the chairs, the workstation and the cutting board are in place. And, most of my quilts are tucked away, either hanging on padded hangers or rolled on padded tubing. </div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjEkzsIVusg3OlthCuAZGbiyhgRAOCHSD1Q0JTKwQbq_wFupx8zbQ_chWj6bu9eXczs_g0L0hrGVEnCa1Bd9_gRpK5apRLExLF3oACIxq3fFC7bgpFuNA3K4kSo4_DUetl1HcdO-1fGdoF/s1600-h/Southwall+001.jpg"><img id="BLOGGER_PHOTO_ID_5297230696547619090" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 320px; CURSOR: hand; HEIGHT: 240px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjEkzsIVusg3OlthCuAZGbiyhgRAOCHSD1Q0JTKwQbq_wFupx8zbQ_chWj6bu9eXczs_g0L0hrGVEnCa1Bd9_gRpK5apRLExLF3oACIxq3fFC7bgpFuNA3K4kSo4_DUetl1HcdO-1fGdoF/s320/Southwall+001.jpg" border="0" /></a> </div><div> </div><div> </div><div>Next posting: Making Tubes for Quilt Storage.</div></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com2tag:blogger.com,1999:blog-3431073205881767294.post-86938429869506162132009-01-30T09:10:00.000-08:002009-03-10T07:30:14.933-07:00<div><br />
<br /><div><br />Up grading a studio, no matters its size, has 4 requirements: 1) Determination, 2) Ruthlessness; 3) Organization, and, 4) Planning. The onset not only requires determination but may require some negotiations if you live with another human. The dog doesn’t care as long as you feed him on time. The job is chaotic for some days, if not weeks. I recommend keeping a good bottle of wine and a sense of humor readily available. The rewards at the end of the exercise are highly worthwhile.</div><br />
<br /><div><br />Every 5 years I like to conduct review my studio contents, to see what I have, find the supplies I actually use, and get rid of the extraneous. This is a 21-year-old habit from military moves every 2 years and the itch continues to reappear. I now call it Refocusing. The last effort was a consequence of chronic stumbling over boxes of fabric and other creative necessities. I was going to seriously injure myself if I didn’t do something. Fed up, I took everything out of my 12 x 16-foot studio and move it all across the hall. This is where Negotiation is involved because everything was a mess. </div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUwUzPH2HVaNeJwh-SqHtvgyurJENysOhTcPFjqzi7IDq8v37FYlW1rEqBvLC540FpMzT-pwL35ZiKzJvdRv_OGp8j7nR_ya0tgigIz0dVqo_iqPwacruGvAiMftJsp_ECXlXAlRV9mpPw/s1600-h/Hall+Blog+003.jpg"><img id="BLOGGER_PHOTO_ID_5297136334500393698" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 264px; CURSOR: hand; HEIGHT: 202px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUwUzPH2HVaNeJwh-SqHtvgyurJENysOhTcPFjqzi7IDq8v37FYlW1rEqBvLC540FpMzT-pwL35ZiKzJvdRv_OGp8j7nR_ya0tgigIz0dVqo_iqPwacruGvAiMftJsp_ECXlXAlRV9mpPw/s320/Hall+Blog+003.jpg" border="0" /></a><br />
<br /><div><br />In 2008 a new plan was launched. I wanted more, particularly laminate flooring and a better working environment by making better use of my studio space. This was Determination. Everything was sorted & packed into boxes. Some boxes stayed, others went curbside. I determined I hadn’t used this stuff since the last reshuffle, so now, out it goes. No second thoughts, gone, Ruthlessness ruled.</div><br />
<br /><div><br />While waiting for the re-painting and the new flooring, I drew up a floor plan-to-scale to figure out the best use of the room. My studio has a closet, plus doors or windows on every wall. Where to place the 5 doubled-stacked fabric shelves, one sewing table & machine, the cutting table, 2 bookshelves, an accessory cabinet, and work station with the 2nd sewing machine? Working it out on paper is highly recommended before one has to actually move furniture into the room. This is the first step of Organization. It makes everything easier because you have a Plan. </div></div>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-30678867339296256812008-02-18T12:15:00.000-08:002008-02-18T12:21:24.977-08:00Color Difficulties<span style="font-family:georgia;">Selecting from the thousands of colors is a major challenge to most artists, even for the highly experienced ones. We become overwhelmed by the possibilities frequently finding it difficult to make the "good" choices. Some will stay with comfortable preferences made before and others will wildly plunge in to select the hues that please for the moment, hoping the moment doesn't pass into oblivion. Both are valid starting points. </span><br /><span style="font-family:georgia;"><br />For my work, I reply upon Mother Nature's suggestions. She knows what she is doing. The sunlight (or lack thereof) will enhance the visual possibilities. Sometimes the wet, overcast days provide more reliable hues and contrasts from which to select. Winter, for me, provides incredible amounts of color choice and it isn't all white and gray. It has to do with the angle of the sun reflecting off ice, snow and other variables. It's quite amazing to my eye to actually notice a wealth of hues and related values.<br /><br />I find the summer presentation more burned out, flattened, and less thrilling. Of course, if you happened to be strolling through the phenomenal flower gardens at St Clare's college in Cambridge, England, then you'll witness the most splendid use of Nature's color pallet.<br /><br />I'm in agreement with Camille Pissarro's observation: "Contrary to what colorists believe, Nature is colored in the winter and cold in the summer."<br /><br /></span>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com0tag:blogger.com,1999:blog-3431073205881767294.post-89992844243517023762008-02-13T17:04:00.000-08:002008-02-13T17:05:36.235-08:00My Creative Inspirations<span style="font-family:georgia;">Observing the wild animals, birds, insects and vegetation is a favorite activity of mine during daily walks on the prairie surrounding my community. Each day the dog, my husband and I wander along many rough paths and fields in pursuit of exercise, sunshine and opportunity. I find wonderful nuggets of inspiration for my fiber art, a dropped deer antler, a turtle shell or fanciful twig. During these jaunts into the natural world of windy grasslands, wooded areas, shimmering lakes, and expansive horizons, there is bountiful inspiration. Oklahoma provides incredible vistas and wonderful color that feeds my love for the western tableaux that I favor in my artwork.</span><br /><span style="font-family:georgia;"><br />Because of the prairie winds that are frequently swirling around the grasses and weeds, I am reminded of the Louis L'Amour character that wrote little notes on slips of paper, tied them to the tumbling sagebrush and sent the messages on their way to wherever the tumbleweed bounced. And that very act of passing notes along is what I am starting today. Happy Trails.</span>Carol Ann Sinnreichhttp://www.blogger.com/profile/18214416089845392580noreply@blogger.com1