Practical Thread Magic

Normally December would be a time of getting things into place. Getting them together. Tax receipts. Almost finished quilts. Articles that have to go out. The teaching is done for the year, and all those tasks impossible in the travel have to be done.
This December, add to that I'm getting ready for Thread Magic Garden, my new book from C&T publishing to arrive in January. There's a flurry of newsletters, articles and new work that has to be in place. In the middle of that muddle, I'm trying very hard to realize that the best task is simplification. So with that in mind, I'm putting all my blogs into one place. I know that some people just want information, some people want stories, some people want a place to check for schedules, and some people just want eye candy. You'll still find it all here at the Art Outside the Box at ellenanneeddy.blogspot.com blog. I've put in a cloud label so you can find what you need easier. And I'm very curious as to what you think. I'm hoping you'll let me know. All the blogs have been fed into this one. I'll still show you wonderful Lunatic Fringe people, color studies, funny stories, fabulous techniques and amazing embroidery. But, we're getting together. Right now.

The decisions we make as artists are so different than the decisions we make as teachers.
I came out in the seventies with a primary degree, ready to teach first grade. 
It was after several breathtakingly bad years substituting  when I finally got a job, only to find I was really bad at crowd control. It doesn't help when you're personally leading the riot.


But your life finds a way.  I worked in a fabric store and quilted insanely, until someone asked, "Could you teach a  class on that?"
Well, when teaching adults, it's ok to be leading the riot. It's kind of what they hired you for. They want excitement and new ideas and that roller coaster feeling of a whole new stash of toys they've never tried before. I'm exactly where I should be.
But the decisions I make about class are almost in opposition to decisions about the studio.
When it comes to materials, I believe that more is more. More colors please. More resources. More options. Certainly more choices. So when I've taught, I want that for students too. So how much and what do you pack? I used to bring whole bolts of stabilizers, fusibles and piles of books for design.
Strangely enough, it comes down to weight. The new luggage fees have changed that world and I have to think like a teacher, not like an artist. It's very strange to pack what I'm sure you'll need. And to leave the things that you might want back at the studio.


So I am proud/sad/confused/and conflicted to announce for the first time in my life I'm kitting classes. I'm still bringing fabulous fabrics I personally dye, hand-dyed threads you can't get anywhere else, hand-dyed cheesecloth and a collection of the most beautiful commercial threads I can find. But I'm kitting up the stabilizers/fusibles/and patterns to make your life easier the day before class. I'm also producing small classroom books for project classes that cover the material, give you pattern, how to illustrations, tips, sources and gallery photos all in one one pretty little booklet. Simplification really is a math project.


This is my first year to do that.You as students and fellow artists will have to let me know how that works for you.


The downside is that you can't always be sure what that kit will cost. Your group will ask me for a cost for that perhaps a year before class, usually when they book the class. Prices can raise dramatically in a year, and I've usually sliced it down to give students the best break I can. So if shipping or the price  spikes, I have no choice but to adjust the kit fee. What I've told students is that if the extra means you eat peanut butter for a week, I'll offer you a dispensation. I can absorb the extra for one or two, but for twenty it becomes a problem.
Like all works in process, I'm trying to figure this out. So as students and artist, what do you prefer? Do you want to strictly find and bring your own supplies? Do you prefer a kit? and can you handle a small price adjustment if it's needed?
This little dragonfly was started in my Dragonfly Sky class, a class built and streamlined with kits, a set pattern, and a booklet to help people on their way. 
The booklet is available separately at
www.ellenanneeddy.com
Dragonfly Sky
or at Amazon 
If you order from Ellen you get your book personally signed.
Or you can ask your guild to bring Ellen to teach you to make your own dragonfly sky. Ellen's  Teaching information 

Here are a series of different grid fills. Left to right, we've filled in with spirals, a wonky ninepatch, a spider web, scallops, and a larger spiral. How fun is that?


How does that translate to quilting? We're still filling in space. Only with thread.Can you say "stipple?"


You'll find some very cool books on Zen Tangling on Amazon. See if it doesn't expand your thinking about space, design and the filling of space.


You'll find more of Sandi Steen Bartholomew's work at http://beezinthebelfry.blogspot.com/

What makes a shape move? We acknowledged that graphically on paper, things move strictly in our head. After years of things falling down around us, we can look at shapes at certain angles and say, "Yep. That's falling." We observe that it should be moving, and our mind makes it do that.
So what makes a shape itself mobile(moving) or static(staying still)?


In the same way angles make things move, symmetry makes things stay in place. A square is the ultimate stable shape. Nothing about it suggests movement. Because it's even sides it doesn't even move the eye from the center.
That changes a bit when we draw it in three dimensions. The third dimension adds an angle just in the drawing, and we see it move a bit.
If we elongate the square into rectangles, the shape is much more mobile. As we go further from equal sides and symmetry, our shapes are more mobile.



Of course if we put them in at extreme angles, they tumble across the surface.


How does this translate to quilts that never have a square in them? All shapes are geometric shapes we manipulate into organic shapes. But the shape of the quilt itself, is the strongest one. A quilt designed with an elongated outline is in motion from it's inception.




Wrapping it up:
Symmetrical object are stable. They do not move unless you put them at an angle or unless you use them to create a shape that is longer on one side than another.
Non-symmetrical shapes aways have the suggestion of movement built in to their form.

We talk about designs moving. But in reality, unless you're dealing with a series of images, they can't. A two-dimensional image is stuck in one place forever. What moves is not the image. It's our imagination of what happens next to the image. We imagine the movements that must, in our experience happen after where the image is now.


We have a life long experience of  gravity. We know when things are going to fall. We also can see from that same life experience when something appears balanced and stable. Our life experience supplies the suggestion that something is moving. The picture itself stays stable.What is the defining element? The angle of the object.
Our tree moves here because she's off balance. Her yellow background is at an angle against hers and the feeling is that she's in extreme motion.

not going anywhere.

1. Summing it up, all movement in design is an illusion formed from our memory and experience of gravity.
2. If we recreate the feeling of falling or motion in a design, the design will appear to move.
3. All movement is created in the angles we apply to our designs.

Next, Moving in on and around a grid.