Week’s Work (Making + Listening)

I began this week determined to get some things done. And I have. I’ve been making lists, making plans, and making embroidery transfers from drawings. I’ve cut fabric in the half-hour increments I’ve created during the day. I’ve carved stamps and printed.

stamping fabric

I’ve made brown.

mixing screenprinting ink

My set of screen printing ink has the primaries, white, and black. You can make a good brown with red and a smidge of black.

I sneak downstairs, plug in my phone, and play Pandora–listening to something keeps me moving. I have a variety of stations and I always put it on shuffle, but I’ve noticed after 7 pm it plays me more blues than anything else. That seems about right for the evening hours.

Perhaps the most important thing I’ve made this week is time. Without deliberately putting it into the schedule, it doesn’t happen. After lunch today I told my two younger kids, “Give me a half hour to cut fabric, then we can go outside for the rest of the afternoon.” They did, I cut with a purpose–having made a list so I could make the best use of my time–and then we went outside.

What have you made this week?

Joining up with Dawn once again…

{Art Together} Take Your Art on a Field Trip

{This post is part of the art together series. You can see all the posts in the series here.}

Drawing at deCordova Sculpture Park and Museum.

One of the best, unexpected things that happened once I made art-making a priority for all of us is that my kids became accustomed to bringing sketchbooks on day trips and outings. This is as simple as it sounds; when packing for the day, sketchbooks and pencils go into the bag along with snacks and water. Why do I like having our sketchbooks along?

* Inspiration is everywhere! Sometimes you just need to draw your idea when you see it.

* It’s a balancing activity in a busy day—a time to focus and settle and look closely.

* It adds another layer to remembering the day. We have not just photos and memories but drawings and notes.

* If we’re learning about something in particular, those drawings and notes are part of project work.

Sketching in our own yard.

You don’t need to go to a museum or tourist destination to take your art somewhere new. We take our sketchbooks into the yard and on nature walks too. Take them on a city walk or on your daily errands. Sometimes the kids ask for them at certain points, and sometimes I ask if anyone wants to join me in drawing something. Sometimes ours don’t come out of the backpack at all during an outing; that’s okay, too. I’m not trying to force them on anyone, rather, just make sure they’re available.

Some things to keep in mind:

* If you’re visiting a museum or other institution, make sure to check their visitor’s guidelines before bringing your sketchbooks. Most art museums, for example, list restrictions on what type of drawing materials are allowed, and some limit the size of your sketchbook, too.

* If you’re going someplace where guidelines don’t apply, consider bringing along more than just drawing pencils. Experiment with watercolor pencils, watercolors, and colored pencils. A water brush makes using paints and watercolor pencils even easier. This shows you how to make your own.

* Clipboards can be really handy for loose sheets of paper.

* If you want to be ready for anything, consider putting together a traveling art box for the trunk of the car.

I bring my sketchbook when I go places by myself, too.

The more you and your kids keep a sketchbook with you, the more it will get used. I keep this as rule-free and simple as possible. At minimum, I have a pencil pouch with a variety of drawing pencils. If the destination allows, I’ll bring my pouch of drawing pens and markers, too. We all have more than one sketchbook going, and the kids bring whichever one they want. (It would be more organized to fill one completely before starting another, I know, but I have problems doing that myself.) It’s nice to date the drawings and make a note of where you were and what you were looking at. And that’s about it.

Take it Further

Brainstorm a list of where you might take your sketchbooks. Is there any place on your list you go regularly—daily or weekly? Challenge yourselves to take your sketchbook and draw in the same place more than once. Do you notice anything new the more you visit? Does your drawing habit force you to look more closely?

Take your sketchbook to the zoo or a farm and try to draw some animals. How is your child’s approach different from yours? Which animals are easier or harder to draw? I find chickens really hard—they never stop moving! They force you to practice gesture drawings.

I love this little post of Lori’s from several years ago, showing her and her son’s drawings of a place they pass often.

Further Resources

There are numerous books full of sketchbook inspiration.

Clare Walker Leslie focuses on nature sketchbooks. If that’s what you’re called to sketch, you’ll enjoy looking through her books for inspiration.

Artist’s Journal Workshop is just gorgeous to page through and has information on materials as well.

Drawn In: A Peek into the Inspiring Sketchbooks of 44 Fine Artists, Illustrators, Graphic Designers, and Cartoonists is on my wish list, so I can’t tell you exactly what it contains. But I suspect, by the title, it covers a wide range of styles, reinforcing that a sketchbook is whatever you want it to be.

If you’re drawn to cityscapes, you may find inspiration in The Art of Urban Sketching.

Truly, a few minutes searching Amazon for “sketchbook” or “art journal” will bring up so many choices…I could spend all day browsing there.

Share Your Work

Reminder, if you have any photos of art-making going on at your house that you’d like to share, feel free to join the Flickr group.

{Art Together} Choosing Projects

(Apologies for posting a day late with this series this week. The events in Boston, a favorite city of ours and one that is so close to home, left me shaken.)

{This post is part of the art together series. You can see all the posts in the series here.}

“Crafts have a value, of course…But such activities shouldn’t be called ‘art’ and shouldn’t substitute for an art program…I make my own distinction between ‘art’ and ‘craft’ by asking how much participation by an adult is needed once I have presented materials.” –Bev Bos, don’t move the muffin tins

Choosing to focus on art as a process, rather than on a finished product, can feel uncomfortable. We are surrounded by images of adorable kid-made crafts: in magazines, in blogs, all over Pinterest. Part of us maybe wants to show what our kids can do too. Or maybe we want an activity that seems to have a beginning, middle, and end. Or perhaps—and this isn’t uncommon in my house—we see something that we think one of our kids would really like to make. How can we embark on an activity with a product outcome yet still emphasize the process?

Firstly, I admit, I don’t look to Pinterest for many ideas, and this is mainly because if we’re going to do something more directed, I’d rather it be directed by my children’s desires, not my own. We often look to books (I am working on a book list to share). We all can look through books and if something catches our eye, we’ll do it. The other benefit to books is that I’m mostly the one choosing the books to bring into the house, so I can control whether they are more product-oriented or process-oriented.

I like art books that offer direction for a technique and some inspiration, but serve mainly as a starting point without dictating the end point. This goes for adult art and craft books, too. I don’t want to follow step-by-step instructions to re-create someone else’s vision; I want to be given the tools to create my OWN vision. What I want for myself, I want for my kids. And just like we share all the materials, we share the books too. Some of our best activities and process-based explorations have been prompted by books aimed for an adult audience.

Sometimes, though, in my internet travels, I come across an idea, or am reminded of a resource we already have, and I think it might be a fun activity for us. In that case, I ask the kids. “Hey, look at this, do you want to try something like this?” I’m careful about trying not to show them finished products. If we embark on activities that result in a finished “thing,” it’s going to be an activity that has room for everybody’s finished thing to look different. This week, to try to show you how this works for us, I’m sharing our accordion books with you.

Volume Twelve of Alphabet Glue features an accordion book project, and Dawn blogged about it. When I saw it, I thought, Hmm, that looks like fun. While I have a copy of Alphabet Glue, I also have Esther K. Smith’s How to Make Books. (I highly recommend it.)  I showed the directions in the book to the kids and asked if they were interested. We decided to buy big watercolor paper—18×24”—and make good-sized books.

More decisions followed: Do you want to paint the paper before we fold it? Do you want to fold it and paint it before cutting? After cutting? What sort of paint? Everybody’s answers were different, because each of us has different ideas. My daughter didn’t want to paint at all. She had me make the book for her (the watercolor paper at that size is fairly thick and hard for small hands to fold) and then she sat and wrote letters on each page.

She thinks maybe she’ll add crayon decorations around the edges later.

My older son folded his, I cut it (with the x-acto knife), and then he began painting. He chose liquid watercolors and various techniques, including tape resist and salt, to add interest. He has these techniques in his mental catalog of ideas because we’ve played with them in the past.

My younger son had me fold but not cut his, and he added color to all the blocks before cutting. He also chose liquid watercolors and eventually decided to add some salt as well. The colors of the liquid watercolors are so vibrant.

I decided to fold but not cut and filled in all my blocks on both sides using tempera cake paint. I plan to doodle with a black Sharpie on my pages. I’m not sure what the boys will do in theirs. This project occupied my kids for more than two hours. They were all working at the same table, making their own decisions, sharing materials, and thoroughly engaged in their work. This is how we approach anything that seems more directed: by giving ownership to the individual.

Further Resources

I’ve written about the importance of process-based art here, here, and here.

If you just can’t keep away from Pinterest for ideas, try checking out Lori Pickert’s authentic art board.

Take it Further

Some other posts in which we’ve attempted to balance product and process:
Patterned Paper Bag Heart Banner
Painted Jar Jack-o-Lanterns
Process to Product: Bookmarks for Teacher Gifts

Share Your Work

Reminder, if you have any photos of art-making going on at your house that you’d like to share, feel free to join the Flickr group.

Sewn: Adorned Zippered Pouches

Isn’t “adorned” a lovely word? My husband is away again this week, so I set my sewing machine up on the dining room table and set the goal of sewing together the pouches I began adorning a couple of weeks ago. I was trying out various ideas here. I like some of these ideas better than others.

zippered pouches2 at amyhoodarts.com

These first three have decoration on only one side. The top left is printed with a hand-carved stamp on linen. The top right is embroidered, and the bottom one is a combination of the two.

Embroidery inspired by faience design.

Embroidery inspired by faience design.

The embroidery on this pouch was inspired by designs on faience, such as on this bowl. I tried to match the fabric to the color of faience, but this fabric is hard to photograph correctly. I’m not sure I like it as the entire pouch, actually. (I’ll show you another pouch further down that uses the turquoise fabric more sparingly, to better effect, I think.)

The tree pouch is a favorite size of mine–it uses a 5″ zipper and is just the right size to hold money and credit cards, or a cell phone. I have two pouches this size in my bag and I use them for exactly those items.

The perfect size for my cell phone.

The perfect size for my cell phone.

The buds are French knots, and the tree itself is stamped with a hand-carved stamp. I’m pleased with this design. I don’t think I’d change it. Most of these pouches, by the way, are lined with a simple sturdy woven cotton, thicker than quilting cotton. It gives the bag some structure, and it was serviceable for this trying out of ideas.

These next bags are decorated on both sides.

zip pouches front at amyhoodarts.com

On the top one, I kept the outside fabric as one piece because I wanted to experiment with having the embroidery wrap right around. I do like that effect, but I’m not sure it’s worth the extra fiddling–it makes it much harder to sew the zipper onto the second side, because it creates a tube. Top-stitching was tricky. (I like to top-stitch along the zipper edge so no fabric gets caught in the zipper teeth–you can see the line of blue stitching in the bottom pouch above.) And I’m not sure the lining sits perfectly. I am a stickler for perfection; I see so many flaws in these that I’m not sure I should consider selling anything ever. It bothers me to no end that I can’t figure a reliable way to get the zipper edges to line up exactly right on the sides. They always seem to shift a little.

That said, I will say that the embroidery on this pouch is beautiful, interesting, and unique.

Embroidery detail, inspired by Haeckel's radiolarians.

Embroidery detail, inspired by Haeckel’s radiolarians.

The bottom pouch in the photo above is decorated with prints of hand-carved stamps, again inspired by faience designs (from this hippo). I much prefer the turquoise sewn onto the linen like this, and the inside of that pouch is lined with the turquoise fabric. I find it much more balanced, and I love the patch effect.

Here’s the other side of these two pouches.

zip pouches back at amyhoodarts.com

And a detail of the embroidery on this side of the larger pouch.

Embroidery detail on zippered pouch, inspired by Haeckel's radiolarians.

Embroidery detail on zippered pouch, inspired by Haeckel’s radiolarians.

Finally, a word on the size. I made the larger pouches deeper than I have in the past, mostly to give myself a larger canvas to work with. But I tend to like a shallower pouch with this length zipper. In the photo below, you can see the difference. I keep my sketching pencils in the bag on the right.

Size comparison of two pouches.

Size comparison of two pouches.

I’m not sure what the best use of a deeper bag with this length zipper might be. Is there one?

So, I’m curious. What size do you like best in a zippered pouch? Pencil size, or bigger? Which of these do you like best? Least? I like the look of anything on linen, so I like the stamped and embroidered linen bags quite a bit. I’m a little overwhelmed by an entirely faience-colored bag, but I like it as one element in the design–I really like how the patches came out on the smaller bag. I also like that these bags have a story–they are inspired by something in particular and are all unique. Each design began with a drawing of mine, translated into either a stamp or a piece of embroidery. If I were to work these into something to sell, I’d want to include the inspiration story with each piece.

I’d love to hear your opinions, if you have any! And because today is Thursday (Dawn’s Making and Listening day), I’ll let you know that I mostly listened to the NCAA basketball tournament while I sewed these on the machine, and I watched Merlin while I hand-sewed the lining opening. I created a Mumford + Sons station on Pandora this week, but it dragged in all manner of depressing songs, including a strings-only instrumental of Eleanor Rigby. It’s probably not the best station for me right now…

{Art Together} Make A Simple Color Wheel

Make A Simple Color Wheel

Materials: Paint (our samples include gouache, watercolor, and acrylic), heavy paper, brushes; compass and protractor (optional)

This isn’t an open-ended activity, but a color wheel can be a useful tool to have hanging on the wall of your art area, and making one is much more fun (and instructive) than buying one or printing one out. Any sort of paint can be used for this, but it’ll be more useful if you mix the colors yourself.

My 4yo and I used watercolor; this is simplest for the youngest artists because you can mix the colors right on the paper. My 8yo chose to use gouache, and my 11yo used acrylics; they both began with the primaries and mixed the secondary colors on their palettes.

Pan watercolors (back), acrylics (standing up), and gouache (small tubes).

Pan watercolors (back), acrylics (standing up), and gouache (small tubes).

The primary colors are red, yellow, and blue. You can’t mix these yourself; that’s why they’re primary. From them, you can mix the secondary colors: orange (red + yellow), green (yellow + blue), and purple (red + blue). We’ll talk a little more about the colors when we have them in a wheel.

My 11yo decided he wanted to make a color wheel with wedges like a pie, so he used a compass to draw a circle and a protractor to divide it into six equal slices.

11yo's color wheel in progress.

11yo’s color wheel in progress.

The rest of us used simple dots arranged in a circle. (If it helps, you can draw the circle, or draw three lines intersecting in the center and place a dot of color at the end of each line.)

Regard your circle as a clock and place a dot of red at the 12-o’clock position, yellow at the 4-o’clock position, and blue at the 8-o’clock position. If you are mixing your secondary colors on a palette, put your dot of orange at 2-o’clock, green at 6-o’clock, and purple at 10-o’clock.

If you’re mixing right on the paper with watercolors, you’ll mix your red and yellow to get orange; your blue and yellow to get green; and red and blue to make purple. My daughter and I did this by putting two circles of each color together and then going back to overlap.

Watercolor color wheel in progress

Note, though, that purple can be really hard to mix. Most likely you’ll feel your purple is a little too red or a little too blue. Try to be okay with this; I’ve had a professional artist/teacher in a class advise me to buy purple rather than try to mix it myself. (But I’m cheap, so I mixed it myself anyway.) Start with just a little red and a little blue and mix gradually and don’t get hung up on perfection.

Watercolor color wheel in progress

Once you have your complete color wheel, take a closer look at it.

Acrylic color wheel

Colors that are opposite each other are known as complementary colors. See how red is opposite green? Green is made from the two primary colors other than red (ie, blue and yellow). That’s why they are complements—they complete each other. (That’s how I remember it, anyway!) Yellow and purple are complements, and blue and orange as well. Complementary colors are said to “pop” when used together. Try it out and see what you think.

My 8yo decided to take his color wheel one step farther and tried to include tertiary colors, which are secondary colors mixed with a bit more of the primary color next to it (ie, yellow-green, yellow-orange, etc; you can see a labeled one here).

Tertiary color wheel attempt

But if you’ve never made a color wheel before, a simple one with the primary and secondary colors is plenty enough to start. Hang it near your art area to remind yourself which colors contrast strongly. Are there any colors you avoid? When I was in kindergarten my purple crayon stayed sharp all year because I refused to use it. For some reason I thought purple was a scary color when I was five! Try using just a little bit of that color that overwhelms you with its complement and see what happens.

Further Resources

The MoMA Color Play Coloring Book is a large-format book designed to be painted in, with prompts for color mixing. We own it; we haven’t used it yet. But it might be just the thing if you’re a little wary of delving into color mixing without some guidelines.

You might want to also explore color through story books with a younger child. Apartment Therapy has a nice list of 20 Kids’ Books About Color. I say “also” because listening to a book or watching a show about color mixing can be a nice addition, but it doesn’t replace the actual experience of creating and observing the magic in real life. When a child has a chance to discover and experience color mixing while being in charge of it, the knowledge is real and theirs. It’s magical.

Take it Further

Preschool Color-Mixing Activity using colored water

Preschool Color-Mixing Activity using tempera paint

Consider adding a color wheel to your sketchbook using whatever materials you might take with you on a sketching excursion. For this, you wouldn’t necessarily be mixing; use the colors that come with your watercolor pencil or colored pencil set and draw yourself a color wheel to use as reference.

Share Your Work

A reminder that a Flickr group is available if you’d like to share photos! Just click the request to join.

Preschool Color-Mixing Activity (II)

DSC02778My first preschool color-mixing activity post continues to be well read, and no wonder: color mixing is so much fun, and preschoolers love it. I’m facilitating a process-oriented preschool art class at our homeschool co-op this session, and when the kids said they’d like to do some more painting, I once again turned to Ann Pelo’s book The Language of Art for inspiration.

This time I chose her “tempera paints” activity in the “Exploring Color” section as my guide. It has all the ingredients sure to please preschoolers: tempera paint in squeeze bottles, mixing colors, “seeing what happens,” and, of course, painting.

Materials: Red, yellow, blue, and white tempera paint in condiment-style squeeze bottles (I pick up the condiment bottles when I see them during cookout season); mixing cups (I used yogurt cups; Pelo suggests glass jars with lids so you can save the colors); craft sticks for mixing; paper and paintbrushes–enough brushes for each color

DSC02773

I began by explaining to the kids that we would be mixing our own colors today before painting with them. I held up the containers of blue, red, and yellow paint and explained that these colors are the primary colors, and with them, we can mix any other color we want. I demonstrated by mixing some colors, taking the kids’ suggestions. I showed how to squeeze the paint out of the bottle into the cup, add another color, and mix it up with the stick. I told the kids they were going to be scientists AND artists–and then they got to work mixing colors. I didn’t impose many rules here, but I did try to reflect their process back to them.

DSC02769

My daughter, squeezing some blue paint into her mixing cup.

For instance, when I observed a child mixing up a color, I might say, “That’s a really bright pink. What did you mix to get that color?” This naturally led to the kids telling me what they were doing and what they’d concocted. I had four kids in class this day, and they shared the bottles extremely well, asking for what they needed and passing it along to each other. At one point, one child asked if he could use another child’s paint color. She didn’t agree, but she did agree to tell him how she’d made it so he could make himself a batch.

Showing a painting to a classmate.

Showing a painting to a classmate.

When kids were done mixing colors, they were ready to paint. This didn’t happen at the same time for everybody. Two girls were most interested in the squeezing and mixing and kept with that part for more than half the class. In the photo above, one child is showing another the painting he created of two dinosaurs. In the photo below, a child has decided to experiment with the mixing stick as a paint-application tool.

DSC02780

The clean-up was very easy, as well. I had a shallow bucket in which to put paintbrushes to soak, and I covered the tables with shower curtain liners, found at the dollar store. Any paint spills wipe right off while we’re working (so it doesn’t get on sleeves and such), and I don’t have to worry about the tables in the co-op classroom getting too messy for easy clean-up.

Anytime squeeze bottles can be incorporated into an activity for this age, it is guaranteed to be a success. Add in mixing and experimenting…and it’s just a fabulous time!

Tips for Art-Making With Various Ages

Making art together, January 2012 (ages 3, 7, and 10)

Making art together, January 2012 (ages 3, 7, and 10)

In the comments to the last Art Together post, Sunny said she faces challenges trying to do art with all of her kids given their age range of 4 through 9. I can relate; my kids are 4, 8, and 11, and we began really making a habit of art time together when the youngest was 2. I wanted to share some things that have worked for me in trying to juggle the different needs of three kids, and I’m hoping others will share their experiences and what has worked for them as well.

When we’re in the studio all together, we have several choices:

Same activity, same materials: This choice is pretty straightforward. If we’re using materials everybody can use and doing an activity that works at all levels, we don’t really need to do anything differently. This doesn’t mean everybody is working at the same level. When we’re creating observational drawings or paintings, there may be a huge difference in skill level, but as long as the atmosphere is supportive of this, it shouldn’t be a problem. If younger kids are feeling less confident next to older ones, or older ones are feeling competitive, this doesn’t work well. In that case, I’d step back and set expectations beforehand, both for one’s own artwork and how to talk about each other’s artwork. (Is anyone interested in a post about talking about artwork, both to and amongst kids?)

Same activity, different  materials: You could choose to give a younger child different materials than an older child; for instance, tempera paint instead of acrylic, or oil pastels instead of chalk pastels, but you’re all heading in the same direction as far as the activity goes. Sometimes, my kids choose different materials anyway, because they’ve spent time exploring them and often know what they’d like to work with or experiment with to get a desired result.

Same materials, different activity: Perhaps a younger child is still at the point of exploring a material, while an older child wants to use it for a more directed purpose. If you can tolerate the messiness that is bound to accompany a toddler or preschooler’s exploration, this can work out well. My daughter began using charcoal at age two; she got a bit dusty. My middle child still most loves charcoal for the way he can smear it all over the paper with his hands. It does wash off skin, so this doesn’t bother me too much.

Different activities, different materials: This, of course, is the most difficult set-up for the facilitator (that’s us, the adults!). Sometimes we just all want to be in the studio together but we’re doing different things. My daughter might need paint, my son is using watercolor pencils, my other son is drawing with Pitt pens, and I have paint out, too, but different paint. Or I present a bunch of ideas and they each pick something different (as described in this post). We’re still all together, but I’m hopping a bit more to make sure they all have what they need.

Same activity, tweaked for age level: As much as possible, I try to adjust the activity so all the kids can participate at whatever level they’re currently at.  So, when we tried our hand at a Matisse-inspired collage (an activity chosen from a book), the youngest joined in by cutting and gluing.  When we carved stamps, the boys used the carving tools with my supervision, but my daughter, who was a bit past three at the time, made her stamp using craft foam and scissors. It definitely takes some creative forethought to tweak activities, but I have found that most open-ended art activities can be adjusted for various ages and stages. It’s simply going back to the idea of starting where you are.

Have a helper: If I’ve planned something more complex, it helps to have another adult around. The first time we printed with scratch foam, my husband was around to assist as well. Having an extra set of hands during a more intensive activity makes it so much easier to help anyone who needs it.

So it really depends upon the specific activity—but flexibility is key to facilitating art-making as a family activity with multiple ages. If anyone else has tips to share, please leave them in the comments! It will be helpful to us all.

Painted for Poetry Month

April is National Poetry Month, which makes my heart happy (although I’m feeling so wide-open vulnerable this year that poetry is almost too much, if you know what I mean). Instead of posting a poem a day, as I’ve done in the past, I’m sharing links to poems on Twitter and G+. But poetry is bound to show up in this space this month, too. Like today, for instance.

DSC02764

A while ago I painted a quote from a favorite T. S. Eliot poem, and I decided to do that again with this quote that jumped out at me from Manifesto: The Mad Farmer Liberation Front by Wendell Berry. I’m not sure where it will hang yet; the Eliot quote is currently hanging in my dining room. I don’t think poetry should be shut up in books, obviously. I think it needs to live with me, intimately. How about you? Where do your favorite quotes end up?

***

(Incidentally, Annie, who introduced me to this poem during a poetry discussion on Twitter one night, is having a give-away of five Cynthia Rylant books to celebrate Volume Twelve of Alphabet Glue. Go check it out.)

{PBL} Monster Book

Front cover of monster book.

Front cover of monster book.

Back in December, I posted about my 8yo’s monster project. Last week, after a couple illness-related delays, we brought a thumb drive full of files to Staples and came home with five copies of his book.

We both learned quite a bit during this project. He took his original idea through to completion–no small task, given how many monsters he ultimately included (12) and how long he’s been working on this. At times we both struggled to keep him moving forward. I was firm that he would finish the project, but somewhere there’s a line between mentoring and taking over, and I tried to be continually aware of that line.

Chupacabra page.

Chupacabra page in monster book.

I also tried to get any thoughts out of my head regarding how anybody else might describe a third-grade writing level. The series Become a Writing Mentor to Your Child at Wonderfarm helped with this, too. My son is moving at his own pace where writing is concerned. I know he brought home more “advanced” writing assignments from school last year, but I also know he required one of the teachers to sit and work with him one-on-one to produce them. The writing barely reflects his personality, and I suspect he had very little say on subject matter or style. Honestly, I’m happy he chose to do anything connected with writing. His book pages are mainly lists, with sentences here and there, but he did the research, took the notes, and chose what to include himself. He also drew all the pictures. The one I’ve included is one of my favorites, but truthfully, they are all pretty special and definitely reflect his personal style.

Beyond the planning, researching, writing, and drawing, he also learned how to use Publisher, looked over the printed pages to catch any mistakes (editing), and decided upon the page order in the book. After creating a made-up monster out of Model Magic, he decided to paint it and use a photo of it for the cover of the book, so he set up the shot and took it himself (top of post). He then decided he needed another shot for the back cover.

Back cover of monster book.

Back cover of monster book.

He used the back of the monster, of course! Once at Staples, he needed to make decisions about the cover stock and binding, as well as direct his brother and me as we collated the copies into the correct order.

Sorting monster book pages at Staples.

Sorting monster book pages at Staples.

He was incredibly excited to have five “published” copies of his book–one for each family member–in hand, and sat down to read it to me as soon as we got home. Yet, he downplayed his accomplishment. Plenty of people write books, he said. I tried to emphasize what he’d done–he made a plan, did the research, put it all together according to his own vision–this is huge.

My hope is that this book becomes a physical reminder that he can set a goal and then reach it. I want that for my kids, all of it. I want them to be able to set their own goals and feel capable of reaching them.

Inspired by Haeckel

When I visited the Isabella Stewart Gardner Museum earlier this month, I bought myself a copy of Art Forms from the Ocean by Ernst Haeckel, a German biologist. It’s subtitled The Radiolarian Atlas of 1862, and it is full of his illustrations of these miscroscopic organisms, which are simply beautiful in their detail and complexity.

A page from the Haeckel book.

A page from the Haeckel book.

I knew that I wanted to embroider something from this book, but my embroideries are inspired by his drawings, not exact replicas of them. I filled a couple of sketchbook pages with images, worked further on some, and finally chose several as good possibilities for embroidery. Here are two:

Two radiolarian-inspired embroidery designs.

Two radiolarian-inspired embroidery designs.

Also at the Gardner Museum’s gift shop, I saw zippered pouches with very simple embroidery–simple line drawings–selling for $48. Hmm, I thought. I like embroidery, and I like making zippered pouches. How might I combine the two? The above piece of embroidered linen will hopefully become a pouch. I’ve always made zippered pouches using separate pieces for each side of the outer and inner portion, but here, I’m trying out having one continuous piece for the outer portion, so the embroidery can float over the bottom fold. I’m not sure how it’s going to work out. It’s completely possible I’ll ruin this embroidery trying out this idea; sometimes that has to happen.

This little piece is also destined to be a pouch, so I’m showing it to you even though it has nothing to do with radiolarians.

Stamped and embroidered linen.

Stamped and embroidered linen.

I stamped the linen with a hand-carved stamp using screen printing ink, then I added buds using embroidery. (Those are all French knots.)

I’ve got several pouches in the works, using the zippers I have on hand as I try out the ideas. They are all either stamped, embroidered, or both, using my own drawings and designs. I feel like I’m moving incredibly slowly–I’ve been sick all week, too, which doesn’t help–but I’m getting there. Once I have these first few, I think I’ll have a better idea of where I might go with them.

I wanted to link with Dawn for her making and listening post, but I think I was mostly listening to the college basketball tournament while I was embroidering these! I guess that will have to count for this week.