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#31
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Dianne: and the more you do, look, really look and see---the more you
will find yourself doing and seeing---it just grows. But ya gotta do it! Marjorie lula wrote: Dianne, Mirjam gave out the best advice any design teacher will say.......DO IT.....you have to start someplace, so just start........and yes, you have to get rid of whatever inner negative voice you might hear.......you have to block that out and go do it....... True, I may able to draw well but the bottom line is, I still have to sit down and try out new methods......afterall, I'm pretty much a self taught stitcher......I started with kits and then realized how many changes I kept making to the designs, so decided to create my own needlework designs! There was quite a bit of trial and error.......you can't be afraid to make mistakes, it's the only way to learn in this field. You also can't be afraid to waste materials or toss aside blah ideas half done.....there is no such thing as having to finish everything you start....you have to keep trying and trying till you are satisfied.....and you will know that feeling at some point....... It wasn't easy at all and in art school we were constantly pushed to SEE and OBSERVE not copy what's there already......from there, we had to use what we saw and interpret it in our own way.........creatively!!! As an example: In an art class of 30, we were given an assignment to illustrate the subject of metamorphisis.......the professor critiqued 29 results of this assignment as totally boring.........despite being beautifully painted and drawn, he said none of these students used their minds to think creatively. I had produced the only art work he liked because I didn't do a literal painted study of rotting tree stumps and vegatation.......my painting was based on Greek Mythology of the Three Fates.....youth, middle age and old age and each fairy like creature was in it's forested area with blooming plants for youth, green healthy growth for middle and fading autumn....all areas were linked with the water of life brook...... Basically, one has to push their minds to think of producing ideas outside of what is expected, think crazy perhaps but the point is to think beyond what you expect........I do this everyday of my life.....I'm always pushing and pushing my mind to be as creative as I can possibly be........ The other important thing to be creative is to see what's around you, everything......street art, clothing, designs and products you might not even like, etc. A creative person can't have a closes mind......you never know where inspiration can come from......inspiration and creativity don't come in packages, certain times of the day, but from minds that learn and process all it sees, hear, feels.....all the senses are involved......the mind absorbs and eventually if one becomes attuned to these feelings, all the stimuli the mind has absorbed will begin to show up little by little in the way you think.......the more you look and practice, the more it'll come out in your creations.....and even when this begins to work, you can't sit back on your laurels because designs, ideas become old as soon as they're produced.......it's a constant and continuous growth to be a good designer.... --- Lula http://www.woolydream.com Needlework Adventures Dianne Lewandowski wrote: I think more than a few of us need a "directed" push. We can't look at a plain canvas and do it. And even if we *can* put *something* on that plain canvas, it ends up being trite. That may not be the right word. More akin to: been there, done that, nothing original. How I wish there was some way I could get into a fiber class that demanded of us in such a way that - sweat pouring down brow - it could eek out my inner self. Watching this conversation: Yesterday I looked at a piece I'm doing, and I noticed the petals in the flower. I definitely have my "own way" of drawing, but I don't know how to break out and make it really say something. Everytime I look at it, I think: Oh, but artists do it so much better. I *know* that's not exactly true in the deepest sense, but that's a tape recorder that's hard to overcome. Dianne |
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I took a class once with a woman who was teaching us a Palestinian
cross-stitch design, as traditionally stitched. Most of the class was absolutely horrified. We were to use a not-necessarily-pure linen or cotton ground that was only more-or-less evenly woven. We were to use perle cotton colors randomly. And most horrifying of all, we were to not worry about how our Xs crossed (the top legs of the stitches didn't all have to go the same way). It was interesting to watch the class as some of us embraced the "freedom," some struggled to try this "new" way of stitching but they at least tried, and some just could not cope with so much rule breaking---it really and truly upset them. I loved it---it was such fun to toss the rules and it also made me realized that the rules are not rules but choices. Marjorie Mirjam Bruck-Cohen wrote: Anne I here By Free you of the stiching police On Wed, 24 Mar 2004 They have been Out lawd!!!!! mirjam ps where did you visit i live in HAIFA ,,, My work would be deemed 'sloppy' by the stitching police g. I'm a bit of a perfectionist myself but agonize over the overall look more than minute details. I've got a snippet of fake fur wool that I got from a floor demonstrator at AC Moore. I'm thinking that the fake fur could be used to add additional interest to my whimisical stitching but am not sure how the 'thread' will handle going in and out of the fabric, or if what I call 'tails', the little fuzzy appendages, will display. If it works, it'll beat the heck out of painstakingly turkey stitching areas. p.s. I've got many fond memories of my two trips to Israel -- another Anne, add ingers to frugalf to reply |
#34
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I had to look her up - and I do like her stuff! The frocks
especially. For those who want to look: http://www.jennifer-pudney.co.nz/wha...html#craftydog No affiliation, etc. Linda in Columbia, MO |
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Victorian era influenced books are to me, tedious to read and
follow......looking through Victorian era cookbooks and needlework books.......feels like going through a maze, convoluted in some ways but then I don't have the patience or time to sift through too many pages. Ladies of that era probably had more time on their hands especially among the financially well off or leisure classes with their servants to do the housework. I know most writers of the time were paid by the word, so that would account for some of the excessive writing styles but not sure if they paid by the word for household oriented books. Overall, Victorian taste seems excessive in our eyes......there were pockets of beautiful design here and there but the overall feel is old fashioned, dark and cluttered, not to mention ugly in some cases. --- Lula http://www.woolydream.com Needlework Adventures vDianne Lewandowski wrote: Monday morning, I was perusing a very old needlework book (1911) and found some directions for "plush stitch". Of course, as usual, these old books don't have much in the way of graphical how-to's. You learned back then mostly by written word - which often didn't match with an accompanying graphic. Anyway, "plush stitch" is made by filling a motif with Fr. knots - but not *too* closely. Then cut pieces of floss the eventual height you want, and cross them (like an X) in between the knots and sew them down. When finished, you brush them to fluff. I should really get the text and type it out. It was a stitch (pardon the pun) to read. No, there is nothing really new under the sun. But as I read that, I was thinking how much easier turkey (or velvet) stitch would have been! I want to try this just to see how it looks, but haven't had time. Dianne |
#36
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Dianne Lewandowski said
Couching? Perhaps with matching sewing thread? that might work, thanks ;-) -- another Anne, add ingers to frugalf to reply |
#37
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Mirjam Bruck-Cohen said
Anne I here By Free you of the stiching police They have been Out lawd!!!!! roflmao!!! ps where did you visit i live in HAIFA ,,, My first visit was in 1966 -- my friend and I based ourselves in Tel Aviv and took cheap tours which sometimes included overnight lodging to many places or public transit from one place to another, including Haifa. Even though I was much younger, I only got about half-way up Masada. My last trip was in 2000; this time I went on an all, or almost all, inclusive first class, two week tour. I made it up to the top of Masada thanks to the cable car. The sense of history that permeates the country was overwhelming. I bawled like a baby as I looked over the edge at Masada, ditto at Yad Vashem, the Western Wall, and other sites. -- another Anne, add ingers to frugalf to reply |
#38
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Jennifer is a New Zealand designer. Her designs are lovely and the
felt ones would be suitable for a beginner. Design a stitching good day, Janet http://www.jmddesigns.co.nz http://www.masterstitch.co.uk Get the JMD Newsletter: http://groups.yahoo.com/group/jmdnewsletter/ |
#39
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I am sorry i don`t know , why you jumped ?? you asked for ways to Free
your work methods and i told you some of my ways , some excercises and suggesstions that helped many a student in all age levels ... I never said you were the one saying al those rules it was a general statement that in order to get free one has to let go a bit of all those Rules , whether taught or self imposed or adopted ,,,, As one who ALWAYS advocates learning from other cultures Yes maybe you advocate it , but i wrote learn to listen ,,,to other .....advoacting is not listening ... If you read many of my posts, you will definitely see that I admonish frequently not to think that there is only *one* way. Not with needles, not with frames, not with "in hand", not with stitches. yes i read Those posts of you , but i also read that you want to get more free ,,,,, It isn't my stubborn refusal to "adapt". It is the tape recordings of a harsh childhood that makes it difficult for me to be more creative. many articles will tell you that just harsh childhoods , make artists !!! When you get whipped for drawing, when your drawings are burned and you must hide them in a school piano bench . . . those are hard lessons to overcome. Especially as you age. You, of all people, should be aware of that. And what exactly should i know ,,,, please elaborate what you meant by the above ? I think i have survived and overcome many hardships , and i work them into my art not , they do not block my creativeness , mirjam Just thought I'd share in the spirit of openness and charity of spirit. Dianne |
#40
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Mirjam Bruck-Cohen wrote:
Dianne , i think we were `dancing` around this subjevt every several months on this group ,.... I believe every person has a story to tell and his / her own way to do itSee where this leads you .... mirjam : One of the first thing you learn when you learn scrapbooking (Creative Memories in particular) is that you are leaving a record of who you were for future generations. So your words are just as important as the pictures, cute stickers, perfect paper and outstanding design, if not important. Also, your handwriting is a part of you and a part that future generations want to see, no matter how bad you think it is. In fact I know of scrapbookers that take special care to ensure that whatever scraps of their ancesters handwriting is part of their scrapbooks to past onto future generations. Maybe it's the same thing with designing embroidery, if it's your way of doing something, then it's your signature and your touch that will mean something to future generations. When I was at SAM earlier this month, they had some early American samplers on the wall. My CSB and I got as close to them as possible without setting off the alarms. They weren't perfect - spacing was off - kilter, etc, but they were still works of art. Rachel |
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