We had allowed one day between the flight and the first day of class to rejuvenate. One thing that we wanted to do, if we were not too exhausted, was visit the Margaret Mitchell House. This turned into more of an adventure than we had bargained for! I had looked up the location on Google maps and it said that Peachtree Street was a mere 2.8 miles from our hotel. What it failed to say was that there are at least 3 Peachtree Streets in Atlanta!
When our taxi arrived he didn’t know of the Margaret Mitchell House and his sat-nav was not working but he thought that he knew where Peachtree Street was. When we had travelled about 10 miles we asked if he knew where he was going; he assured us he did. After about 20 miles we were very concerned and asked if he was certain he knew where he was going; again he assured us that he did. After 30 miles we asked him to stop the taxi. After some discussion he agreed to telephone the Margaret Mitchell House and confirm that he was headed in the right direction. He said that everything was fine and we would be there soon. Finally we pulled up outside a smoked glass building surrounded by skyscrapers in Downtown Atlanta. Sue and I looked at each other and simultaneously turned to the driver and said this is definitely not the right place. At that point we said just take us back to our hotel, we’d had enough. Dave, the taxi driver, was adamant that this was the right place; he didn’t want to take us back to the hotel and for us to have had a wasted journey. He redialled the house and after a short conversation drove around the block to the back of the smoked glass building. There in the shadow of the skyscrapers was the turn of the century house where Margaret Mitchell had lived and wrote "Gone with the Wind”.
We enjoyed the tour of the house. The guide gave us a great insight to Margaret’s life and her work. I was very interested to learn that Margaret had tried to make the book as historically accurate as possible but also to tell the tale from a female perspective. Women are all too often lost in the retelling of history. Historians, mostly men, have tended to document the battles and politics of history, both of which were dominated by men. I have recently read two books by Philippa Gregory (ok, I’m trying not to get too feminist about this but spell checker does not recognise Philippa as a correctly spelt word, instead it has offered me Phillip, Phillips, Philip, Philips and Philippe – Microsoft please note that WOMEN do exist). I have always enjoyed historical novels, especially those that at least have one foot in reality. "The White Queen" and "The Red Queen" (both by Philippa Gregory) are about the maternal and paternal grandmothers of King Henry VIII, I thoroughly enjoyed both of them. Visiting the house has made me want to read "Gone with the Wind" but looking at the size of that book and knowing how slowly I read, maybe I will just watch the film again.
Happy Stitching
Sunday, 13 May 2012
Monday, 7 May 2012
Atlanta
I cannot believe that it is over a week since I returned from Atlanta! The time I spent in Atlanta galloped away at an even more indecent pace. Looking back, I cannot recall exactly when I decided that I would make this trip. I know that I was captivated by Japanese bead embroidery when I first laid eyes on the book "Bead Embroidery Bag" by Reiko Matsukawa. I was aware that Matsukawa-sensei was teaching bead embroidery annually at the Japanese Embroidery Centre but at that point in time at trip to Atlanta for a 3-day bead class seemed preposterous!
In 2008 I learned that a newly qualified tutor was about to begin classes in the UK. Within days I had signed up for my first class and in November 2008 my journey in JBE had begun. By spring 2009 I had completed Phase I and booked a class for Phase II. By the autumn the same year I was moving onto Phase III. My progress slowed during 2010 when my mojo went missing for a few months but it was Poppy Pouch that relit my fire and got me stitching again.
Late in 2010 a few things happened that may have started me thinking that I needed to go to Atlanta. Even though Poppy Pouch was far from finished I took a class to start Phase IV. Floral Melody is the piece depicted on the cover of "Bead Embroidery Bag", the piece that I fell in love with when I first saw the book, this rekindled my enthusiasm for bead embroidery. I think it was around this time that my UK tutor informed us that she intended to immigrate to New Zealand. And about the same time we learned that Matsukawa-sensei would not be teaching a class at the JEC in 2011 due to bad health. All of a sudden it looked as if my opportunity to learn Japanese Bead Embroidery was coming to an end; this spurred me on to progress as quickly as possible through Phases III and IV. When the 2012 bead class was announced in June 2011, I knew without a doubt that I was going to America.
And so it was that on April 14 2012 I found myself in Atlanta with my good friend and fellow beading enthusiast, Sue. I was exhausted from the journey, feeling desperately ill with a throat infection and more home sick that I had felt in my entire life.
Happy Stitching
© JEC/Carol-Anne Conway
In 2008 I learned that a newly qualified tutor was about to begin classes in the UK. Within days I had signed up for my first class and in November 2008 my journey in JBE had begun. By spring 2009 I had completed Phase I and booked a class for Phase II. By the autumn the same year I was moving onto Phase III. My progress slowed during 2010 when my mojo went missing for a few months but it was Poppy Pouch that relit my fire and got me stitching again.
© JEC/Carol-Anne Conway
Late in 2010 a few things happened that may have started me thinking that I needed to go to Atlanta. Even though Poppy Pouch was far from finished I took a class to start Phase IV. Floral Melody is the piece depicted on the cover of "Bead Embroidery Bag", the piece that I fell in love with when I first saw the book, this rekindled my enthusiasm for bead embroidery. I think it was around this time that my UK tutor informed us that she intended to immigrate to New Zealand. And about the same time we learned that Matsukawa-sensei would not be teaching a class at the JEC in 2011 due to bad health. All of a sudden it looked as if my opportunity to learn Japanese Bead Embroidery was coming to an end; this spurred me on to progress as quickly as possible through Phases III and IV. When the 2012 bead class was announced in June 2011, I knew without a doubt that I was going to America.
© JEC/Carol-Anne Conway
And so it was that on April 14 2012 I found myself in Atlanta with my good friend and fellow beading enthusiast, Sue. I was exhausted from the journey, feeling desperately ill with a throat infection and more home sick that I had felt in my entire life.
© JEC/Carol-Anne Conway
Happy Stitching
Wednesday, 2 May 2012
Progress Report - April
For the first few weeks of the year I made a concerted effort to finish some of the projects that I had already started or committed to. I did well. The most important finish was Floral Melody. I had to complete this in order to enrol for the Phase V class. I finally complete Floral Melody at the end of January but I could not afford to take a break in my stitch schedule, I wanted to complete Camellias by the end of February so that Frame One would be available for me to begin Phase VIII at my Japanese Embroidery class in March. I did the finishing and removed Camellias from the frame the weekend before the class. At that time I was in the very unusual position of having three Japanese embroidery frames with nothing on.
I tend to work on a large project, usually Japanese embroidery or bead embroidery, in the mornings and at weekends. I like to have something smaller and less time consuming for the evenings. In January I concentrated on completing all of the Round Robin Doodle Pages and sent those off. I also stitched an overdue Colour Challenge Chinese Whisper page. These were all for swaps I had signed up for on the Embroiderer’s Guild member’s forum.
I then turned my attention to an on-line class – Chinese Flower by Trish Burr and before that had ended I had signed up for another on-line class – Purple Pansy by Tanja Berlin ... and before I had finished that I signed up for Susan Elliot’s e-course, Harikuyo needle book.
By the end of March, I had not completed every WIP (work in progress) but I had dramatically reduced them. By the end of April, I had started four new projects!
Phase VIII – Queen of Flowers has gone onto Frame One and was started at my annual Japanese embroidery class in Bournemouth.
Bridge Between East and West on Frame Two has not been out of the portfolio. Frame Three travelled to Atlanta with me for Bead Class and held Phase V, Pouchette for 2 weeks. I’ve had to take it off the frame to bring it home.
I rented a frame from the Center to do the Special Project so this also has had to come off the frame for the time being.
I took a Needlework Nibble to Atlanta, thinking that I would work on it in the evenings. As it turned out, I had very little time or energy for anything in the evenings but I have made a start with it.
At the moment I am in a bit of a quandary what to do next. I would like to work on all of the projects that I have started recently but I need to focus on one. I would most like that one to be the Pouchette but it is slightly too long for the smaller frames so needs to go on Frame One. I don’t really want to take Queen of Flowers off the frame, although it would fit onto the smaller frames. There is also another project that I would like to work on, the Gold work Master Class sampler. I have mounted the fabric for this project onto Frame Four but it is not yet started. Decisions, decisions!
Happy Stitching
I tend to work on a large project, usually Japanese embroidery or bead embroidery, in the mornings and at weekends. I like to have something smaller and less time consuming for the evenings. In January I concentrated on completing all of the Round Robin Doodle Pages and sent those off. I also stitched an overdue Colour Challenge Chinese Whisper page. These were all for swaps I had signed up for on the Embroiderer’s Guild member’s forum.
I then turned my attention to an on-line class – Chinese Flower by Trish Burr and before that had ended I had signed up for another on-line class – Purple Pansy by Tanja Berlin ... and before I had finished that I signed up for Susan Elliot’s e-course, Harikuyo needle book.
By the end of March, I had not completed every WIP (work in progress) but I had dramatically reduced them. By the end of April, I had started four new projects!
Phase VIII – Queen of Flowers has gone onto Frame One and was started at my annual Japanese embroidery class in Bournemouth.
© JEC/Carol-Anne Conway
Bridge Between East and West on Frame Two has not been out of the portfolio. Frame Three travelled to Atlanta with me for Bead Class and held Phase V, Pouchette for 2 weeks. I’ve had to take it off the frame to bring it home.
© JEC/Carol-Anne Conway
I rented a frame from the Center to do the Special Project so this also has had to come off the frame for the time being.
© JEC/Carol-Anne Conway
I took a Needlework Nibble to Atlanta, thinking that I would work on it in the evenings. As it turned out, I had very little time or energy for anything in the evenings but I have made a start with it.
© Thistle Threads/Carol-Anne Conway
At the moment I am in a bit of a quandary what to do next. I would like to work on all of the projects that I have started recently but I need to focus on one. I would most like that one to be the Pouchette but it is slightly too long for the smaller frames so needs to go on Frame One. I don’t really want to take Queen of Flowers off the frame, although it would fit onto the smaller frames. There is also another project that I would like to work on, the Gold work Master Class sampler. I have mounted the fabric for this project onto Frame Four but it is not yet started. Decisions, decisions!
Happy Stitching
Thursday, 12 April 2012
Missing Harikuyo
I was very busy at the beginning of February and I did not get a chance to hold my annual needle cleaning ceremony in celebration of Harikuyo, the Festival of Broken Needles. I did however offer a little prayer of thanks to my needles but nothing as beautiful as the poem written by Lane Jennings and reproduced on Plays with Needles.
I have come to enjoy this annual ritual and was sad to miss it this year. To compensate myself and my needles I enrolled on Susan’s Elliot's Needlebook Ecourse.
I might have known that Susan would put the same level of care and energy into her first e-course as she puts into every other venture. The course was presented in a variety of medium, all delivered via a blog set up especially for the course. Even before the course began Susan welcomed use with a post to let us know that our kits had been posted and to give a supply list to those who had opted not to purchase the kit. The supplies in the kit were of the highest quality and arrived beautifully packaged.
When Lesson 1 was posted, I had a lovely surprise – videos! I have known Susan for several years now, through her blog and communicating via email but what a treat to see and hear her. I think that the videos where probably my favourite part of the course. It was like having Susan in the room with you. There were video demonstrations of every step and there were also pdf files that gave further information that I found very useful.
As well as the actual lessons, Susan posted extra blogs with related information about Hari-kuyo and needles.
The entire course was fun, beautifully presented and best of all, I was able to produce a needle book that I am very pleased with.
Happy Stitching
I have come to enjoy this annual ritual and was sad to miss it this year. To compensate myself and my needles I enrolled on Susan’s Elliot's Needlebook Ecourse.
© Susan Elliot/Carol-Anne Conway
I might have known that Susan would put the same level of care and energy into her first e-course as she puts into every other venture. The course was presented in a variety of medium, all delivered via a blog set up especially for the course. Even before the course began Susan welcomed use with a post to let us know that our kits had been posted and to give a supply list to those who had opted not to purchase the kit. The supplies in the kit were of the highest quality and arrived beautifully packaged.
© Susan Elliot/Carol-Anne Conway
When Lesson 1 was posted, I had a lovely surprise – videos! I have known Susan for several years now, through her blog and communicating via email but what a treat to see and hear her. I think that the videos where probably my favourite part of the course. It was like having Susan in the room with you. There were video demonstrations of every step and there were also pdf files that gave further information that I found very useful.
As well as the actual lessons, Susan posted extra blogs with related information about Hari-kuyo and needles.
© Susan Elliot/Carol-Anne Conway
The entire course was fun, beautifully presented and best of all, I was able to produce a needle book that I am very pleased with.
Happy Stitching
Wednesday, 11 April 2012
Purple Pansy
In my last post I mentioned that I have done three online courses that covered long and short stitch during the last year. I began the final course after I had finished Camellias and have just completed it. Soon after I finished the Chinese Flower by Trish Burr, I learned that Tanja Berlin was offering a course. Well, why stop at learning with one world renowned thread painting expert when you can learn with two!
I am not going to do a comparison of the two courses other than to say that both are excellent and I have no hesitation in recommending either.
The design (outline and contour lines) came drawn onto the fabric. The kit included an ample supply of the threads pre cut into stitching lengths and stored on thread cards. Also included was a booklet with well written instructions and excellent diagrams and further instructions were posted to the website each week. Students were encouraged to use the course forum to ask questions and post pictures of their progress. Tanja marked any observations onto the photographs and/or add any tips and suggestions in a comment below the photograph. I don’t think that everyone in the class used this facility; they may have preferred to email Tanja for a private review. Personally, I was happy to up load pictures of the bits I was not satisfied with and discover how to improve my stitching. I hope that others found the advice offered to me useful. I certainly benefitted from the observations made other photographs.
Initially, I thought that the Pansy was a rather simplistic design but I now realise that it was a very good teaching device and getting the angles right, especially on the petals, was more difficult than I anticipated.
I’ve written an awful lot about long and short stitch this year, perhaps too much, but his will be my last post on the subject for some time. I think that I have overcome my fear of the technique and will be more inclined to use it in future but for now I have lots of projects planned, none of which include LSS.
Happy Stitching
© Tanja Berlin/Carol-Anne Conway
I am not going to do a comparison of the two courses other than to say that both are excellent and I have no hesitation in recommending either.
© Tanja Berlin/Carol-Anne Conway
The design (outline and contour lines) came drawn onto the fabric. The kit included an ample supply of the threads pre cut into stitching lengths and stored on thread cards. Also included was a booklet with well written instructions and excellent diagrams and further instructions were posted to the website each week. Students were encouraged to use the course forum to ask questions and post pictures of their progress. Tanja marked any observations onto the photographs and/or add any tips and suggestions in a comment below the photograph. I don’t think that everyone in the class used this facility; they may have preferred to email Tanja for a private review. Personally, I was happy to up load pictures of the bits I was not satisfied with and discover how to improve my stitching. I hope that others found the advice offered to me useful. I certainly benefitted from the observations made other photographs.
© Tanja Berlin/Carol-Anne Conway
Initially, I thought that the Pansy was a rather simplistic design but I now realise that it was a very good teaching device and getting the angles right, especially on the petals, was more difficult than I anticipated.
© Tanja Berlin/Carol-Anne Conway
I’ve written an awful lot about long and short stitch this year, perhaps too much, but his will be my last post on the subject for some time. I think that I have overcome my fear of the technique and will be more inclined to use it in future but for now I have lots of projects planned, none of which include LSS.
Happy Stitching
Friday, 6 April 2012
Camellias - finished
The last flower was not the final last thing on Camellias. Three leaves remained. These were outlined with a couched line of gold thread.
When I look back on my journey with Camellias it has been the most difficult since I began Japanese embroidery but also probably the most rewarding because I have climbed a mountain.
At the outset, it is no exaggeration to say that I was terrified on long and short stitch and even more scared of random long and short stitch. It seems ridiculous to talk about being afraid of a technique but that is exactly how I felt.
The best way to tackle your fears is to face them head on and over the past year I have done 3 online courses that covered long and short stitch as well as stitching Camellias. I don’t feel that I mastered this technique but I have overcome my fear of it.
Indeed, I have come to relish the challenge!
Camellias: 110 hours
© JEC/Carol-Anne Conway
When I look back on my journey with Camellias it has been the most difficult since I began Japanese embroidery but also probably the most rewarding because I have climbed a mountain.
© JEC/Carol-Anne Conway
At the outset, it is no exaggeration to say that I was terrified on long and short stitch and even more scared of random long and short stitch. It seems ridiculous to talk about being afraid of a technique but that is exactly how I felt.
© JEC/Carol-Anne Conway
The best way to tackle your fears is to face them head on and over the past year I have done 3 online courses that covered long and short stitch as well as stitching Camellias. I don’t feel that I mastered this technique but I have overcome my fear of it.
© JEC/Carol-Anne Conway
Indeed, I have come to relish the challenge!
© JEC/Carol-Anne Conway
Camellias: 110 hours
Happy Stitching
Tuesday, 3 April 2012
Camellias - the last flower
Finally, it was time to revisit the last flower. I had started this in October as well at the branch and I decided that this also should be removed and started over. However, not because I didn’t like what I had already done but because I thought that my stitching might not match what I had done previously. And, if I am honest, I was looking forward to stitching this partially open flower; all of it, not just the small petals remaining.
In Japanese embroidery the foremost elements are normally stitched first, in this case that meant the small turnover section of a petal. This was done in diagonal foundation rather than LSS. The remaining petals are done in random long and short stitch starting with the large petal on the right.
The last row of stitches on this petal is done with #1 gold 'WOC'. Japanese gold threads are made of paper with gold leaf applied to one side. The paper is cut into narrow strips that are then wrapped around a silk core. The thickness of the silk core determines the weight of the thread. 'WOC' stands for 'without core'. The gold leafed paper strip is very carefully removed from the silk core and threaded into the needle. It is very, very fragile!
On the three back petals there is barely room to add a second row of LSS. A few stitches here and there, some silk, some gold 'WOC' are all that is needed. It only took a few hours to stitch this little flower – it was over too quickly!
Happy Stitching
© JEC/Carol-Anne Conway
In Japanese embroidery the foremost elements are normally stitched first, in this case that meant the small turnover section of a petal. This was done in diagonal foundation rather than LSS. The remaining petals are done in random long and short stitch starting with the large petal on the right.
© JEC/Carol-Anne Conway
© JEC/Carol-Anne Conway
The last row of stitches on this petal is done with #1 gold 'WOC'. Japanese gold threads are made of paper with gold leaf applied to one side. The paper is cut into narrow strips that are then wrapped around a silk core. The thickness of the silk core determines the weight of the thread. 'WOC' stands for 'without core'. The gold leafed paper strip is very carefully removed from the silk core and threaded into the needle. It is very, very fragile!
© JEC/Carol-Anne Conway
On the three back petals there is barely room to add a second row of LSS. A few stitches here and there, some silk, some gold 'WOC' are all that is needed. It only took a few hours to stitch this little flower – it was over too quickly!
© JEC/Carol-Anne Conway
Happy Stitching
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