One more thing...

Sometimes it seems like there is never enough time! Always one more thing to do, BUT, at least it all seems to be getting done. Most of the time it is a reasonable facsimile of wha I hoped to accomplish.  I am only a couple days late with doing my blog every two weeks. It feels almost magical when I get to cross off a line of my to do list.   I told myself I would do it-keep up the blog and chart my weaving progress  when I created my resolutions and goals for the year. One can see how little I have done on the Kona Pink sunset(definitely doesn't have the same flair as Kona Orange-needs a renaming!) and/or that I haven't started the piece for the connections show next to it-yet. In two weeks I will have until August to see how much weaving I can get done. I am really excited about doing an exhibit at Village Wools, but need some new work for it. I am also really looking forward to teaching and have programmed in time to actually do some research and visit people.   I did finish the sampler for my something -new something old class I am teaching at CNCH. Best News Yet!! I haven’t crashed into a corner-yet- in a despondent suicidal heap-Okay, Okay, so that is a little over the edge, but so is staring at several hundred, thousand, million slides and trying to put .them into a coherent useful thought pattern and scanning them into the computer. Okay-so digital images beats masking slides and remembering which is the front of the slide and is it upside down in the projector and will the order be scrambled before I reach my destiny. Best of all No more upset slide trays! I can wear the lecture around my neck on a stick. I can still remember teaching colour theory and tapestry in Atlanta, when someone decided an already crowded elevator could stand one more person if they got a running start to the crowd in already pact elevator. Slide trays flipping into the air and wafting not so slowly over all of  the inhabitants of the elevator and everyone helping me pick them up as the jerk ran off to is so important meeting. Perhaps he thought he was going to be facing a lynch mob for his rudeness. I was so grateful to Marti Fleisher for helping me get my slides back into the trays while I gave my lecture. Changing technology from old to new is always s-o-o much fun. I still thing that there is something to be said  for the old ways. I have spent the last several days converting slide lectures-mostly technical and adding new slides that I have done in the past into PowerPoint presentations. I love the process and enjoy creating the pages, but it takes time. Time that could be spent weaving I can understand why instructors are printing out the presentations in little booklets and selling them or using them for handouts. I had never thought about doing this until I was at Small Expressions in Grinnell and saw a couple that Daryl Lancaster had done. What a great idea!

I still have the great philosophical debate in my psyche as to whether I would rather be a Luddite or an Albertinian Monk. Wonder if Miller ever knew how influential is story would become to some after his death. I think it's the only thing he ever wrote-maybe maybe not. I should go to the internet and look it up-how funny. How ironic! How repurposed. 

      Could I live my Grandmother’s life? I would miss my music and my IPOD, but as long as I had my loom, books and journals I think I would be happy or at least content. The more the world increases the technology I need to keep up with and the instant -rarely deep conversations of the internet the more tempting it becomes. Everything seems to be getting into smaller and smaller bytes.  There is never enough quiet. Even at night one can hear the buzz of electrical circuits that power our life's. AND, YES, young family members, there really were typewriters and now they are being repurposed in to jewellery.

So what have I been doing for last two weeks? Very little weaving and a lot of “paper” work. Pat and I met our deadline to have the So Warped  book ready for the printer so that we could have a final galley to take to CNCH with us. I basically finished my Power Point stuff Soumack, Old Believer lectures and updated my 101 with images from the SO Warped book. I have perhaps 5 inches woven on my soumack sampler for my soumack class. Tomorrow I will speed weave and hopefully finish it Saturday, which is wha I was able to do.YEH!!! No more bits and pieces of disorganized soumack samples floating in and out of the suitcase. Sunday I will make a dozen tassels as samples for OB Tassel class. And then I am ready to pack. Pat and I will leave Thursday morning. It will take 9 and ¾ hours from here to there. As long as we miss the traffic slow downs in the bay area. One just has to love GPS’s. We will be home early Monday. No site seeing, no museums, no side trips etc. etc. A week later I leave for Las Vegas, which is looking like it's going to be a great class. Their looms are warped and ready to weave. That is so cool.   Hopefully, I’ll get to see something besides the airport. All of the above stuff is so  worth it when one finally gets a chance to teach it and someone "get it."

Last night I received an e-mail of the Fantastic Fibers 2010 show. I received-I am not sure if you would call it an award-a special Jurors Choice recognition. Pretty cool! I am directly under Maximo Lauras second prize award on the page.

"Sic transit mundus" ("Thus passes the world").

Announcing a new book from fine Fiber Press-So Warped

So Warped, Warping a Loom for Weaving Tapestry by Kathe Todd-Hooker and Pat Spark

ISBN 9780-9753698-6-9

After many years of teaching tapestry and weaving, the authors realize that it is sometimes the warping process that stops a weaver dead in her/his tracks. Traditional weavers often have horror stories about their warping experiences and while many tapestry weavers do not have a background in traditional weaving, they too often see the process as impossibly difficult. In this book we are covering as many warping methods and hints as our combined 60 years of experience have taught us. We have learned these methods through much trial and error. We are certain there are other ways of doing things, but we have hit upon the methods that work well for us and for our students.

To help understand warping, we present different types of tapestry looms, various tensioning and shedding mechanisms including several types of heddles, and the following warping methods: figure eight, circular, bout, four-selvedge, floor loom, and as an added treat, the method of warping the Russian Old Believer backstrap loom for weaving tapestry belts. There are 110 pages of information for warping your loom so you can weave tapestry. If you aren’t warped before you read this book, So Warped will really help you get there.

Pre-publication price is $32.00 plus $5.00 shipping and handling. This special price is only offered through Fine Fiber Press and is only available until April 30, 2010. After that time, the price will be $35.00 plus $5.00 s/h. Discount quantity prices are available for vendors. Order from Fine Fiber Press and Studio, 604 1st Avenue East; Albany, Oregon 97321 USA phone 1-541-917-3251 email: finefiberpress@comcast.net

http://www.finefiberpress.com/

Here is a teaser of a page from the book.  Enjoy!!!

WOW!!! and meanderings

WOW!! WE DID IT!!! SO WARPED IS WRITTEN, LAID OUT, AND BEING PROOFED!!! GOOD JOB, PAT, you are so good and getting better all of the time!!!!The book is now in/ready for pre-publication sales. We even have the cost and a discount for anyone who purchases it in advance. 35.00 After release and 32.00 for those who buy a prepublication copy of the book. The book has 110 pages of everything you want to know about warping just about any loom you can weave tapestry on with exception of the shaped tapestry looms which is in the Shaped Tapestry book. I am spending the weekend writing the press release and starting the announcements for the prepublication sales.
       Left is a picture of the cover of the book, but without the cool Mulberry coloured background.

BUT, first, it’s time to do my blog. It’s over due and nagging at my conscience to be done. This means I’ll never get anything done if I don’t take care of my goals for the year-Writing my blog every two weeks, keeping up my photo journal, and my weaving journal. Fortunately, for me I am having a very quiet day. Spencer is working at Block, Pat is off on a well deserved visit with relatives and the sun is shining but too cold and wet with rain burst to work in the yard. No one is aware that I even exist today. The phone is not ringing for a change. So, it’s me, my stuff, Wry, Chene and Brahms for the day with maybe a little Hans Zimmer to keep the energy level up.

One of the new things I have learned in the last few weeks is Viking Knitting. It’s really addictive. I can sit and do it for hours. Viking knitting is a type of looping that is done with wire to produce a chain that can be used in jewellery. After it is looped the knitting is pulled through a draw plate that extends it length and turns the rather ugly as in duckling thing into a beautiful sensuous chain. I have a bracelet that I have to wear all of the time so I created a bracelet from the chain. I had looped and attached the old charms to it and added cones and a pretty finding with a flower on it. It looks so much better then what I had been wearing. Pat is putting together a class on Viking knitting that involves using felt. It sounds really interesting. It’s a class I would take if I were going to a conference and taking a workshop.

I finished Kona Orange. I think I’ll leave it with that name. I am taking some teasing from family member’s about-Kona gold, Maui Wowie, and a few other such brand names. It was really good to get it off to the Enchanted Passages exhibit.

The studio has felt a bit overwhelming and imposing for the last month and perhaps a little sinister as in promoting guilty feelings. Everywhere I look; there are warped looms ready to weave on, but no plans to weave on them. It’s like someone gave into a warping fetish and obsession. Actually, they are looms warped for illustrations in the So Warped book, but it’s still intimidating. Let alone staring at the awesome sized space on my large Shannock with all that space ready to be filled for “and HE.”.

The Mirrix is warped and I’ll start the other Kona piece today and be able to stare at the blank warps for another piece that needs to be done by November, but at least I am weaving and not brooding over the other piece. The design still hasn’t come together, but when it does, I am warped. Boy, isn’t that the truth. It must be spring even the looms are waiting with a pregnant pause and the excitement of beginnings. There’s something so satisfying about the first touch of colour on a loom. Of course, another warped loom will be used for my Soumack samples I am trying to get together for my class in Santa Clara on soumack and the More! class I am teaching in August in Albuquerque. I am tired of all of the little bits and pieces of samples floating around the studio. If I get them, all together in one sampler I can lose it instead of just random samples that I need for the class and can never find while packing to teach a class. I keep telling myself this is a good deal! Also, one warp is on the Fine Fiber Press loom and Pat is making ranuu and pick and pick pillow tops so that’s her problem not mine-gr!  So I guess perhaps it’s not quite as sinister since many of the looms have a purpose other then making me feel guilty for not filling up the warps. I just need to find the time to fill up the looms.

These are samples  of soumack that I have been spending time getting ready to weave. It's not in my sample collection,yet.            The Linten roses, or Mayflowers or helleborus are blooming beautifully. Your choice for the proper name that you prefer. What I call them seems to depend on my mood at the given time I am discussing them. They are the one flower in the yard that doesn't seem to mind the heavy rain we keep having. I must have variations of 10 different colours ranging from greenish white to purple. They are fun to watch. They can't seem to make up their mind about what colour they will be. I am definitely going to use them in a tapestry.   I have almost decided that I don't like the upper right hand corner of "And He"  and may change it to the Lenten Roses, because they are so changeable and can be used to bring on dreams. Sort of an appropriate flower for the piece. Actually it would be the bottom right if turned it's final direction.

 This is where I wish I were today. Tomorrow It will be raining. It's already clouding up.  So enough about today and the past weeks.It is just so right that So Warped is finished! It's time to move on to the next project a book on colour and colour movement in tapestry and get all of those warps filled up with colour. .   But the timing to begin will probably be in September or later for the next book. So I get a few months of weaving and prep time for classes.  Cheers and all!  

It is what it is!

Kona Sunset-Orange is finished except for the twining and braiding. It’s done before the deadline for the Enchanted Pathway exhibit. YEAH!! All I can say is it is about time!!!! I was beginning to worry with all that’s been going on and not going on with FFP and the studio. It has a very boring name. ..Perhaps that will change after I look at it for awhile. Maybe it should just be Kona Orange. It has some interesting colour blends in the sky -oranges and purples mixed together on the bobbin and all through the hatches and hachures. I am not sure orange really describes this piece. I am very happy with the silhouettes’ of the trees against the blazing orange sunset. It’s a technique I will probably use again. The orange pushes the dark navy black to an intensity I wouldn’t have believed possible in a small format piece. The orange is warm enough and the blue black cool enough that it has substances with then appearing like a hole that black elements in tapestries sometimes create visually. Photographing my small format/small sale work can be difficult. There is a shine that happens that makes it look like the warps aren’t covered, when really they are. The rib structure in the photos has a tendency to moiré. The subtle blends are almost too subtle for the photos of the pieces. It’s a real frustration. They almost need to be viewed in real time rather than frozen in a photo. Time to stop moaning and move on! It is what it is!

And, now for the second Kona piece. By the way the
kona pieces are 5 by 7 inches at 20 epi. They are made of dual duty craft thread for the warp and the weft is composed of cotton and or polyesters sewing thread, embroidery floss and rayon embroidery floss. Thank you Jan for the incrediable oranges and the deep turquoise you gave me from your mothers stash. The all cotton oranges and yellows have a beautiful lustre. This is a picture a of the next kona sunset. Taken the next day on the same balcony 1500 feet above the ocean looking out across downtown kona. It is so opposite of Kona Orange in colour. I think the difference was caused by the vog and the erupting valcano.

Good news the So Warped book will be very closed to being finished this week with the exception of the endless proofing and the vast seemingly endless - minutiae that goes along with that such as Indexes, proofing and more proofing that can only be done once the layout is finished. It’s a little longer and stuffed with a lot more information than we thought it would be. So much for the small handbook on warping tapestry looms that we set out to write. We-Pat and I-built a copy of the old pipe loom that I used in graduate school-a pipe loom that was used pre-copper pipe looms. It brings back a lot of memories of sitting by the patio door and weaving obliviously for hours while a plethora of every kid for miles around screamed and created mayhem in the back yard almost silenced by the Debussy’s afternoon of the faun and a healthy dose of Rimsky-Korsokoff and Borodin. Now I have something much more effective my IPOD, but no kids. If you like pulled heddles it works really well for the Gobelin type of heddles. They are so adjustable in height.

Today I tackle the Mirrix. I am really excited about the treadles. I have never personally liked shifting the heddles with my hands, but... It eventfully makes the scar tissue in my palm sore. For most people this isn’t a problem. I also prefer the advantage of being able to use both hands when weaving with my slicker threads at 20-22 epi. But, I do love the Mirrix treadles and the fact i can fit it into a suitcase when I travel. I also like the heddle system itself. It is really fast. I noticed on Lynn Hart’s blog she’s using the heddle bar system on her Shannock, which is a very interesting adaptation. But, you know i don’t mind the tyed heddle system. What i do dislike is the hot glued heddles. Something eventually always comes loose and hangs one long and shortens another. Then when one has worn out the heddle the glue often pulls away part of the wood. Unless, it is really cheap glue and then one ends up at square one with a long and short heddles when the glue doesn’t hold over time.

The weather is odd. It is either beautiful, sunny, and freezing cold or warm, dreary and way too wet. The daffodils and Jonquils are out. My crocuses aren’t, but everyone else’s seems to be. The Camellias’ are blooming just in time to be browned by the rain. I wonder why we even try to grow them in Oregon. The downstairs part of the studio is/ was absolutely frozen and the the upstairs where I spend most of my time will be too warm. I want to lay out in the sun and read, but my fingers are too frozen to turn the pages. When the sun does shine and heat up the Daphne Odorata the smell is incredible as it gently wafts into the studio. Made a nasty discovery yesterday. The fasteners on the windows in the stairwell are in the middle and I am too short to reach them. Should be an interesting summer!

I am starting to think about my piece for the ATA small format show. I am beginning to collect the images. I want it to be about paradoxes. Perhaps, the paradox of the Alpha and the Omega a feeble attempt to weave what has been going on in my life lately and the thought processes that they engender. There is always the paradox of aging and youth as the body changes, fascinating to watch and examine, but difficult at times to live with. I am not sure whether it’s a paradox or an oxymoron-good and evil, old and young, fire and ice. The paradoxes involved in food and diabetes, Insulin and glucose

I keep going back to fragmented puzzles and puzzle pieces that aren’t really there. They remind me of quilting stitches-there, but not there. A combination of Coleridge’s Xandu and Stephen Cranes black rider.

Life is full of little discoveries such as coming home and finding out my neighbour can really play the delta blues on his guitar sitting in his front yard. Evoking memories of Asa sitting on the patio playing the guitar when he was a kid, or that the neighbour doesn’t mind Chene chasing his cats that are twice Chene’s size, or someone else also enjoys the opera. Another discovery I counted 7 different colours of violets on my 8 block walk to my better bones and balance class.

Discovered that Wry/Rya has taken to sleeping under pillows on the couch to hide from Chene. Can’t say that I blame him. I am about ready to lose Chene’s orange bone, especially if I have to throw it one more time, but first it needs a trip through the dishwasher. Discovered this morning while trying to sleep that he is still chasing flying geese and airplanes.
Cheers for now!

 
 

bit by bit, inch by inch

Today is a beautiful day. The sun is shining. There is a promise and perhaps a hint of spring-pregnant with waiting. The camellia buds are swelling. I saw the first of my Grandmothers violets of the season. The moss in the side yard is beautifully green. The last week or two has been busy, dreary, tax season and solitary in the evenings. I am definitely ready for a trip to the coast, seeing a movie or going to the opera-Anything!! that doesn't take place in my home, yard or studio. Spencer is working 50-60 hours a week doing taxes-probably a good thing. He seems to enjoy the people he does taxes with. Even closing in on 45 years I enjoy his company and friendship and miss im when we don't get a chance to talk and do things together.

The ducks are starting to migrate over the house. Chene' is chasing them as they pass over the yard. He's got this thing about geese and airplanes. He has great hearing. Spencer thinks I should be grateful that he only chases flying geese and airplanes. He starts barking and running towards them before we can even hear them. Wry/Rya is back from becoming an "it" and hernia surgery. The results of the hernia surgery have turned him into a leaping ballet dancer with incredible karate chops and jumps. Usually done and around the dog for maximum exsposure and impressive value. Chene' is learning not to try and follow him, anymore over the furniture. Chene' drops like a rock trying to follow Wry/Rya graceful jumps and ascents. Chine’s ungraceful splats can be heard all over the house.  Can't seem to get it across that belly flops should be done in water and not hardwood floors.

     

I am proofing the galley for the So Warped book.

 Pat's illustrations are incredible. I wish I had been lucky enough to have a book like this when I started tapestry weaving. Especially since I didn't come at tapestry as a weaver, but as a surface embellisher (old term for surface design). Everyone just assumed I knew how to warp a loom. I can't tell how many times I reinvented the proverbial wheel.  At this point it is around 90 pages and still growing, BUT, Pat and I can see the end of the process. In some ways this has been the hardest of the books because it isn't actually about technique and a new program had to be learned-In Design by Pat. I like the fact that it's has no frills, but is loaded with information and packed with pictures and illustrations.

The last month has been difficult. Pat has been recuperating from 2 surgeries and I have had some type of atypical something that has still left everyone wondering.  I feel fine now and am back to exercising and my better Bones and Balance class. Everything always seems to be behind or running toward major deadlines.

Yesterday I realized that I don't have a piece for the next ATA small format show that fits within the 100 square inch perimeters. I still have a year, but with small format the year slips away really fast. My Orange Kona piece is only half done, but at least it's the hard half. It will be going to ATA unjuried small format show-Enchanted.

I am building a galvanized pipe loom to photograph for the book and to illustrate the Gobelin heddles I used to use all of the time.finall figured out that a entretoise just means arched template.  Of course back then I loved sitting on the floor and weaving. Now I want a chair and cushions for my hip. I started weaving on a galvinized pipe loom in 1978-79. I wove on clear up[ into the 90's.  It was before I could afford my Shannock. It's so easy to put together and adapt and inexpensive. I spent several hours picking up pieces for the loom yesterday. I think the Home Depot people were glad to get rid of me by the time I found all of my bits and pieces for the loom. Things have changed since I built my last galvanized pipe loom. They barely carry galvanized pipe anymore. Everything has moved to copper or plastic pipe.

I think of all the looms I have been trying and researching I am beginning to really like my new Mirrix-best. I loved my hagen, but it's to difficult to get anymore. The heddle system and treadles on the mirrix is quite unique and portable. I am not so fond of reaching up and shifting by hand each shed, but the treadles do away with that problem. I find it to slow and it irritates the scar tissue from my hand surgeries to do for very long at a time.  With the treadles I don't need to worry about my shoulders or my hand pulling treadles or shifting the heddle bar. Also a definite plus when I am demonstrating to students both hands are free to point and weave. I am starting the thinking process for weaving a tapestry on it. Maybe I will weave two tapestries side by side so that I can practice taking one off and continuing weaving on its companion.

Both the Kona piece and “He who Tells...”have some interesting colour phenomena’s that I photographed and am trying to weave in the two pieces. In “He who tells...”I was photographing on Mary’s Peak at sunset what I am now using as the background for the piece and an interesting flash effect occurred. The green grass and trees suddenly flashed red. I was actually able to photograph the happening. I am trying to weave the effect in the background. By rights if you mix red and green you come up with grey or a muddy brown at a distance. I am using chine’s to try and get the effect of the red and green as they mixed in the photo. Logically your mind tells you can't do that because grass and trees are green or red. It almost shimmers. But it's amazing how the two colours when mixed on a bobbin and then woven become one colour and blend together. The Kona orange piece is a mixture of blue and orange to get a slightly foggy appearance as the colours blend together in the hatches and the Chinés. There is black foliage in front of the sunset that makes the orange appear particular bright. The thing that really interested me was the orange didn't seem to affect the bushes and the houses in the fore front. The colour splashes and houses all stayed magenta and turquoise-rather cool contrast to the intense oranges and blues.

The real problem with these colour mixes is they never photograph well or simply disappear in the photo of the work. One ends up trying to explain how the effect is really there, but you can't see it in the photo or slide. They need to be seen in person to get the correct effect. The blending is so subtle especially with the small needle thread tapestries. In some ways the colour relationships defines how you wish to use technique. Is the technique more important than replicating the picture or the design the design? Is there a difference or a new paradigm being created between architectonic, graphic, colour usage and blending almost photo realistic work? Is this starting to take the place in the tapestries some of us create? Well, at least mine. It's definitely a move away from the bold simplified designs that were woven in the past and ruled by Lurçat's dictates about what good tapestry should be. Based on the premise that all colours fade thier for the technique will become the design rather then the colour elements. To me it's more of a revisit to tapestries of the late 1700's a way from the tapestry designs of the apocalypse and earlier. For me and my tapestries not a bad idea!

I wish I could figure out this new blogger problem. It  seems to have a bunch of new features and no spell check.   What is it about us that always wants to change things whether they need it or not.  

Tell next time cheers and all

    
    

Stuff and the not so exciting stuff

Not as far as I would like to be, but with the studio cleaning and all of the other things i have had to do i at least have the hachures set up and the lace begun. if one looks really closely in some of the squares you can see the long jump diagonal soumack i am using to create the x's in the lace. i am still deciding if i like it. Many of the diagonal crossbars are a little over .5 inches. the float of the soumack rides on the surface of the tapestry and adds a raised effect. it looks very much like embroidered cross stitch, but isn't.

The Kona orange tapestry is a little further. i think it is the tapestry that i am going to send into the ATA unjuried show. Good thing i only have to send in the entry form and not the piece.

It's that time of the year when I do resolutions, goal/ guilt setting stuff, and scrunge out the studio. It's been a little harder this last week or so because I seem to have an inflamed nerve in a new place-my ear and scalp. O, well-could be worse-maybe. At least I am not dead and still have the energy to complain work and shake my fist at fate...Talk about trite sounding. I really don't like woe is me, but it seems to be my mood.
For the year I am doing a photo journal-one picture a day and a couple of comments about design. I really wanted to do a daily weaving journal, but realized how impossible that might be when I take off and travel days to weeks at a time several times a year. I really didn't want to set myself up for failure. I do enough of that accidentally with out planning it into a project. AND, doing a weaving journal entry ever day that I weave. I hate loosing the ideas that come unbidden and leave when not honoured. The photo journal is something i have wanted to do for a long time. I like the discipline of deadlines. Since it seems I have discipline only if i set a deadline to finish something. I think I have the personality of a grasshopper rather then the ant in the fable. Which would I rather be-ant grasshopper or butterfly? It is an endless debate as I get older. I know there is no butterfly in the fable, but I think there should be-look at the Monarch butterfly they get vacation in the mountains of Mexico-let alone flit around from flower to flower or idea to idea with no real responsibility. I wonder how long it would take before I was to bored to function?


Please note the reaction i sometimes get from the guys in the peanut gallery before i get my shots in for the day. Fortunately, they are usually in the mood to humour me as i try for one last perfect shot. Love you guys for your patience.

The good news is that the tapestry studio is just about scrunged out and reorganized. I look at some of the things that we have liberated from the corners. The ubiquitous plastic boxes I put everything into in hopes that by hiding it in a plastic box I can deal with it later-an unidentified later, of course. Seems i might be a closet hoarder, but in denial. My logic seems to be that if I put it into something I am really not hoarding. There once was a TV show called Weird, Indiana that had the lady next door storing everything including her children in "foreverware" with whom I tend to identify with. The same town that had a secret department for lost things--in "the loser" episode that all sock pairs missing one sock go to. You know the one sock that is always missing from a pair. The same department that hangers go to breed and take over or disappear into to every time you need one in a hurry. Another stash I wonder about is the cord saving place that we save all cords in because we might need the cord someday, but really have no clue to its relationship to any piece of equipment that is now in the studio or may be in the studio in the future. The cords last longer then the equipment it was meant to be used on. Or the stacks of magazines and papers I might need someday that just gets taller and forgotten because that time hasn't been yet, but when you do need it you have either forgotten you have it or has mysteriously hidden between something. Something and cannot be found for love or money. Added a resolution that I will date all strange pieces of paper and put names by all phone numbers that I write on slips of paper for future reference. ( (ASIDE) Sorry I decided I wanted to look it up and it is Eerie, Indiana not Weird Indiana even though there is one.) Also, Chene' seems to have found a new dessert wrapped electrical cords, but the cord has to be wrapped in a neat coil. He doesn't touch attached cords. He chews through the coils so it ends up in thousands of little pieces waiting to disintegrate when least expected or wanted.

I am slowly weaving on my two pieces. The large format piece isn't difficult. It just seems so large in scale. I keep wondering if I am really comfortable weaving this size-10 epi. I look at the maquette which is exactly half the size of the large format piece and wonder if it would really have been too much to weave a 2 foot tall needle thread tapestry at 20 epi. Then I think what and where would I use it? It wouldn't fit the criteria of any show or exhibit that I enter. Probably not true, but it would be a hassle to find where it belongs. Sometimes weaving the lace feels so coarse, but it is exactly twice the size in warp sett-10 epi. Everything is twice the size of a 20 epi piece. but it feels odd. i will be interesting to see if it still feels over sized in a square foot or two.

Guess there is till no place like home even if you have to scrunge it out and reorganize it very occasionally.

Cheers for now!

HOME! Small format tapestry-20 epi-sewing thread. This is actually my backyard from a hill not to far from here.