…by these new postcards ….
and find more postcards for inspiration in each artist’s page:
Together with all the lovely postcards we have here today, Lynn Woll sent a link to her website with a tutorial for her postcard. Thank you, Lynn.
Today these artist are showing their take on 8 different themes:
The postcards are also shown in each artist gallery together with their previous postcards.
Or you could take a look at our many theme pages.
This month we are visiting with Lynn Woll in Tacoma, Washington.
Do you call it a studio or sewing room? To yourself, to friends and family? Why do you think this is so? Difference in starting point between quilting and art? Thinking of this as a business rather than a hobby?
I call it ‘upstairs’. It was originally a ‘bonus room’ or extra living space upstairs so that my daughter could ‘hang’ with her friends. I had a little corner space with my sewing machine, and didn’t use it very much. When she went to college, I started to expand my ‘space’ in the room – a little bit at a time, and, as you can tell, I pretty much have taken over the entire room!
My sewing is a hobby for me. I have a more-than-full-time job that helps me collect fabric for someday in the future. For the past three years I’ve had a fun job that required me to travel around the world. It’s been fun, but exhausting. I have spent more time collecting recently, than creating. But each piece and each notion has a memory of a great place in the world. Being a part of Postmark’d Art has allowed me to continue to be creative – on little pieces, and given me deadlines so I actually get some creative time for me.
What do you have in the room? machines, supplies, fabrics, paints, etc. Anything that might surprise the rest of us?
What do I have in the room? Too much! Machines, supplies and books are handy in the room; fabrics are stored in a closet off the room. We built the house and the bonus room was huge (we were moving from a house just over 1000 sq ft). We took 10’ off the length of the room and made a storage closet. It is a mess right now, but my fabric and notions are stored in the closet.
I do share the room with my treadmill. It is the perfect place to contemplate a piece on the design wall. I should use it more often! But it isn’t used to hang clothes! As you can see in the pic – garments I’m working on are hung from the wall unit.
How is your “stuff” organized? How do you organize your fabric? By color? Amount? Any separate categories (batiks, hand dyes)? How do you organize your thread (color, weight)?
I’m working on organizing (again). It seems like an ongoing chore. My quilt fabrics are stored by color in cubbies in the closet. In the past few years I’ve gotten into more garment sewing and that fabric is harder to store since it is more yardage. The collection of garment fabrics are in piles and bins in the closet, the corner of the room, the under-eves attic and in my daughter’s room closet – everywhere.
Quilting fabrics sorted by color along one wall of the closet . . .with piles of garment fabrics collected stacking up against the shelved. Top ones are wovens I picked up in Mexico for less than $1 yard. Who could leave them behind? 10 yards of each, please.
I do a lot of beading on my quilts, and like to make beaded jewelry. The beads (and findings and more) are organized by color in the plastic drawers on the desk in the corner of the room. I can pull out my beads, pull up a chair and work right there. The desk is special to me, as my Dad had made it for his computer desk about 25 years ago. It is perfect for my bead storage!
Do you have anything, supplies, more machines, etc. tucked away in any other rooms of the house. How many other rooms? (My husband likes to talk about that one.) Has a family member or significant other ever accused you of “taking over” the entire house? If you have a separate building, we want lots of pictures.
Uh, yes . . . my husband has accused me of ‘taking over’ the entire house. I have fabric tucked in my daughter’s bedroom, I do some of my handwork downstairs in our living room, so always seem to have a project or two next to my chair. The office has a mix of paper and scrapbooking supplies (most of which can be used in a quilt), and two bookshelves filled with more books. So, I’m often going back and forth between the two rooms when I’m creating.
How much horizontal surface do you have, and is it ever enough? Do you have to move piles of stuff to cut anything bigger than a fat quarter?
Not enough – can you ever have enough? You can see I’m working on some postcards on my horizontal surface in my room. When I need more, like cutting out a garment, or layering a quilt, I use my dining room table.
Do you straighten/organize as you go, putting each fabric away as you cut, or do you clean up after a project? How many projects do you work on at a time and how do you keep them organized?
I like to straighten and organize as I go, but generally don’t. Believe it or not, the room is looking pretty good right now! I’m sure it would drive some people crazy with the mess I have. I usually have many projects in the works at the same time, and have another great idea I want to try.
In the past few years I have been working long hours and travel a lot for work. When I have a few minutes to create, I don’t want to spend the time cleaning up and organizing. I want to create something. My goal for this year was to get a bit better organized, and have been attacking a little bit at a time so it isn’t overwhelming. You know it is bad when you can’t find something, and you go buy it again. I’ve done that too many times in the past year! Someday I’ll find it all, get it organized and have more than a lifetime of stash!
Anything more you want to add about your studio, organization, working methods, etc., please do.
My working method is to come up with an idea in my head. I think about it for a while and then I just dig in. I don’t plan out on paper very much – maybe just a very rough sketch. As my friend and mentor Lorraine Torrence taught me, I make ‘visual decisions visually’. I will work on a piece, put it on my design wall and force myself to spend time on the treadmill (with me actually walking) and look at the piece and make decisions. I probably spend more time exercising when I’m working on a piece that excites me, because I want to have the time to really look at it and tweak values and scale on the piece.
One of my quilts on the wall as I leave ‘my room’.
This was fun! Now, if I just had more time!
Thank you Lynn for sharing your space. I love the idea of a treadmill facing the design wall.
Next month: Sara Kelly
Seal carving, or stamp engraving, is traditionally listed as one of the Four Arts in China. A seal/stamp, also known as a chop, was for many centuries a symbol of power: emperors used it to give orders, officials used it on official documents, and civilians used it as a signature.
Late last year there was quite a buzz among the group about chops. As often happens, a flurry of activity ensued. The first activity that many members engaged in was a search for their own chop. Here are the chops that were ‘rediscovered’ and brought back into circulation:
Vivian Aumond-Capone purchased her chop in the 1980’s while taking a Chinese Brush Painting class with Ning Yeh in Huntington Beach, California. The chop has not been found yet, but here is a photo which shows it in use.
Vivian was told that one of the words on the chop means “beauty.” The hunt for the chop will continue but she is considering purchasing a new chop, perhaps with her initials on it.
Sara Kelly purchased her chop in China. She shared the story of obtaining it with us: “In 2006 I went to China and tour bus guide in Beijing said she had a cousin who carved chops. Thus she could get us a great deal and they would be ready by the end of the day. We carefully printed our full names and birth year and went on our way to the Great Wall. I ordered one for each of my sons and one for myself. As promised, they were ready that evening. Each chop was nestled in a silk box with a ceramic pot of red ‘dragon’s blood’ ink. Although I was born in the Year of the Boar, mine is carved with an impressive dragon head. It is five inches long and prints an image 1.5 inches square.
Over the course of the following year I created a series of small journal quilts about my trip to China and used the chop on the label of each one. I’ve learned that the ‘dragon’s blood’ doesn’t print well on fabric, but in the interest of authenticity, I keep trying till I get a decent image. Like so many delightful little tools in my studio, it has been buried for a while and I appreciate this opportunity to resurrect my chop.”
Kay Laboda drew the design she wanted and had it created as a stamp through an on-line source. “I rather like the sweet little guy,” says Kay. Can you tell she is partial to giraffes?
Karin McElvein purchased her chop for about $10 during a trip to China in 2001. She was visiting a temple when the opportunity presented itself. “I had forgotten until I found it that he had actually carved my name. I’m going to start using it on all my postcards!”
Sandy Wagner bought her chop during a trip to China in 1997. It was hand carved for her while she shopped at a very friendly store. It’s a bit difficult to read, she says, but “Sandy” is carved in English with Chinese characters under that. Perhaps she’ll carve it a little deeper to make it easier to read. It’s been about a year since she has used it.
Lynn Woll grew up living overseas. Her chop was made for her during 1967-68 while living in Seoul, Korea. Her maiden name is ‘Hand’ and the characters are a phonetic spelling of her name, Lynn Hand. “Funny,” says Lynn, “I hadn’t thought about it in years. When the conversation among the group started I went in search of it. Believe it or not, it was the in first place I thought I might have ‘safely put it away!’ Thanks for bringing back wonderful memories of living in Seoul with my family.”
A couple web sites were found that might be of interest. This one shows you how to make your own chop:Moo-Cow Fan Club.
This site will create your custom chop: Char4u.
The Alzheimer’s Art Quilt Initiative (AAQI) is a national, grassroots organization whose mission is to raise awareness and fund research. It holds a monthly online auction through its Priority: Alzheimer’s Quilt project (named because the donated quilts are restricted to 9″ x 12″ to fit into a USPS Priority mail envelope). The Alzheimer’s Art Quilt Initiative has raised more than $591,000 since January 2006 and has awarded nine grants to fund research. Ami Simms of Flint, Michigan is the founder and executive director of the AAQI, a 501(c)3 nonprofit corporation operated entirely by volunteers. She is a quilter and her mother had Alzheimer’s.
Eight members (Vivian Helena Aumond-Capone, Maureen Curlewis, Franki Kohler, Heather Lair, Karen Musgrave (organizer), Del Thomas, Laurie Walton and Lynn Woll) of Postmark’d Art donated postcards for AAQI’s June 2011 auction. The sale of the twenty-three donated postcards raised $916. You can see all of the donated postcards by visiting Postmark’d Art’s page on the AAQI website. Laurie Walton’s postcard Measure Up raised the most money when it sold for $85.