Like most of the art supplies in my life, I have too much fabric. It currently takes up a plastic bin, and overflows into the storage space. It may not sound like a lot, but it’s like my library, it’s stuck in an awkward place and there is a lot I’m never going to get to.
Which is why my swatch book came into being. It ‘s not much more than clips of material a couple inches wide stapled to a note card. I wrote as much information on the card (front and back) as I could think of. I included the composition (I have a lot of cottons), the weave, the date I entered it, and a short descriptions (for all those large patterned fabrics especially). Some of this information I had to to straight-up guess.
On the back I wrote how much I had of each (broke out the ruler for this one), whether it was pre-washed, where and when I’d gotten it, and then anything else that might be helpful. Some of the cloth came from old bed-sheets (good for muslins!), which had tags that told me everything I needed to know.
All of this I stuck in photo insert pages in a binder.
This project’s influence will, I hope, be two-fold: first, I need to know what is in that bin, without having to remove the contents. Second, it will help me prioritize the collection. This project promises to be tedious and time consuming. If I can’t be bothered to cut a bit off to label, I can happily get rid of it.
I have spent too long away.
Covered in the map. Before I added the puff paint, fern and title card.
While I was slacking off, I covered a couple journals.
I got a pack of three paper bound Moleskine notebooks. (about $18.00 at your local purveyor of fine notebooks).
I used an Elmer’s quick drying permanent glue stick. It works better than the all-purpose glue stick.
Before gluing anything, I removed the little pocket in the back before gluing on the cover.
My collage materials:
- The Sticker that came with the notebooks,
- Gold puff-paint
- A blank artists trading card for the title
- A map from Powell’s Books (They are in color and fold out).
- A sheet of scrap-booking paper with ferns on it (I punched up the colors with some colored pencils).
I laid out the notebook and traced out the covers. I added about 1/2 inch on three sides before cutting. I glued it one cover at a time folded in the sides and corners:
The corners.At the spines, I clipped off the bit that couldn’t be folded over.
After I’d finished with the cover, I clipped off about 1/2 cm off the very first and last page and gluing them to hide the edges of the covering material. I glued the pocket piece back on.
I regret not having posted for the last two weeks, so I will leave you with this delightful site:
Living Lines Library
I particularly like looking at the production art. Sometimes the end product, while spectacular, is a bit too slick to really get a good feel for the work that went into it’s creation. And sometimes the rough lines are more lively.
I wanted to point out Clover because reading this manga was a revelation. It’s about a girl with psychic (or magic) abilities. She is the most powerful of the “clovers” so she’s locked up in what looks like an arboretum without outside contact. An ex-soldier is assigned to her. It turns out that the girl knew his deceased girlfriend. And that summary does not do it justice at all. I’m told it wasn’t finished, which makes sense. It lacks a wrap up at the end.
The art style is an antidote to the idea that there has to be an explosion on every page. Each page in Clover has a few panels, and/ or perhaps a couple balloons of dialog and/ or one of the motifs (clover, baroque wings etc.) and not much else. Given the isolation of the main character, the layout seems fitting.
Sometimes the space is black or toned, or has a pattern, but the concept is the same. It’s like background music in a movie or TV show. It provides an emotional backdrop. The blank space can also give the eye a space to rest and let the impact of the words/ images sink in.
This is a not an unusual amount of white space on a page:
Going with this less-is-more, I have tried to absorb this aesthetic. Lots of action and detail doesn’t’ have to be crammed into each page (though sometimes individual panels are quite detailed).
Here is a picture of one of the aliens I wrote into my Nanowrimo Camp. I know they are going to come to earth at some point and they are going to want coffee. The colors are anemic, so that have to re-think/ re-draw it at some point.
I made this drawing of Chester, who belongs to Megan of The War in My Brain Blog because she asked for drawings:
Done in ballpoint pen and pro-white.
Actually, I draw a lot of cats. Or a lot of drawings of one rather fat cat. I find as drawing and/or still life subjects cats have several advantages. They are plentiful (at least in my house). Unlike dogs, they don’t care that you are looking at them. Dogs will come up to you when they realize they have your attention, completely ruining the tableaux. Cats… don’t care. They consider the attention their due. Cats are also bendy and make interesting shapes without being asked. Aside from their graphic quality (especially with tuxedo cats, like mine), they are dramatic yet strangely relaxed. Ever see a cat stuff itself into a box and happily fall asleep, while you wonder if the angle of the head in relation to the body is really all that comfortable, but realize it must be or the cat would not be quite so relaxed? Yeah. There is a reason they are the mascot of he internet.
These are all of my fat cat, Theodore:
This and the following done in Prismacolor brush tip marker and Pro White.
My roommate and her mother and I took a couple days and went to the coast. Their stated purpose was to make some beaded necklaces to sell. I don’t sell them, and beyond some jewelry mending, I had no jewelry planned out.
I remembered an antique wire necklace belonging to my mother. It’s bright antique green beads on silver wire. I had neither silver wire nor antique green beads, but I had a light copper colored wire and boxes and boxes of beads.
I used pink cultured pearls, light green faceted beads (with a bit of AB finish) and some dark pink glass beads I fished out of a bead mix. The wire was some 22 gauge wire ( I think) I bought for some other project. The wire bends a bit, whenever I tried to take the necklace off, so I will use something more sturdy next time.
At first I made the necklace of just the long links about 3/4 the length of my first finger. The end of each length of wire I made a wrapped loop. I connected them with homemade jump rings. I turned each loop to face the same direction. I have no idea if this would have made a difference, but it made me feel better. The loops were wrapped similar to this tutorial, except I didn’t have the bent-nose pliers and had to wrap my wire by hand (my fingers were very sore afterwards).
The jump rings were made by wrapping the wire around a q-tip, (after I realized I would never be able to get it off, I cut off the fluffy bit) and generally made them like these jump rings, Though I was not concerned at the time (though I perhaps should have been) about making the ends of the wire flush.
It turned out a bit a short and stiff (most of it is made of lengths of wire). I added another, shorter link (the pink bead link, about the length of my fingernail) and it became a claspless necklace I can loop twice over my head.