Planet Textile Threads

July 06, 2015

Margaret Cooter

Seeing and doing

One thing leads to another.

Searching for a sketchbook with blank pages, I started looking through the pages of the first one that came off the shelf ... and noticed how the strong sunlight would pass though several pages, even thick pages, at once, if the marks on them were dark enough.

Out came the camera, and then the photographs of the layered pages got a bit of tweaking in photoshop, starting with a simple conversion to Grayscale, and then trying out some filters.

Different qualities from different sorts of mark

Too realistic?
Using the Underpainting filter
Dry brush filter (under "Artistic" in the list)
Using the Cutout filter

Not grayscale
Poster edges
Graphic pen
Graphic pen with Levels adjusted
From even this short experiment, it's obvious that some effects work better than others. There are so many options in the Filters, and so many adjustments possible in each ... it's overwhelming. How do people find the ones that are most useful - how much of a learning curve is that?

Hit and miss has revealed Solarize and Cutout as worth trying again, if only to quickly see what sort of effects are possible ... before getting out the ink, brushes, pencils, scalpels and taking it forward the old-fashioned, manual way.

You could, of course, combine separate photos of marks on screen by using Layers. Getting to grips with Layers is on my list, but not near the top of it.

by Margaret Cooter ( at July 06, 2015 09:54 AM

Neki Rivera

not the end of the world, but close

second heat wave before the first's even too hot to sew.  it's verry hot during the day, but the worst is that it keeps being hot at night too. we s witch the air con to sleep at night ( we're in europe remember no central air con) and at least we can sleep.

managed to finish the lilly dress with sleeves in a nice flowy silk fabric.planning ahead the october wardrobe ;) for now i am looking for stitching projects that do not entail too much hand movement.

neki desu
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by (neki desu) at July 06, 2015 08:00 AM

July 05, 2015

Terry Grant

Fourth of July

Celebrated to perfection in my opinion, which meant right here. No parades, parks, crowds. Used to do all that and it was fun, but this was even better. I even got a couple hours in the studio before the family arrived for dinner on the deck.

Just watching the kids run through the sprinklers made me feel a little cooler. Then they posed for me in Grandpa's hat.

After everyone left and Ray went off to bed, I sat out on the deck and watched the sky turn from pink to purple, and a few fireworks through the trees. The neighborhood kids were whooping and setting off firecrackers, perfuming the air with that Fourth of July smell of gunpowder. The cat and I sat in the dark and saluted the end of another fine celebration.


by Terry Grant ( at July 05, 2015 11:28 AM

Margaret Cooter

Bikes in Berlin

In London, pedestrians increasingly have to watch out for bikes being ridden on pavements, sometimes heedlessly at speed - even though cycling on the footpath (pavement) is an offence under Section 72 of the Highways Act. But who bothers to enforce these things?

In Berlin, cyclists and pedestrians have coexisted for longer, there are many more bikes than in London, the streets are wider, and clearly marked cycleways are in place. Pedestrians still have to look out for bikes, for instance at bus stops and traffic lights, where they need to cross the cycleway. Those bikes travel at speed!

In places where the pavement is too narrow to incorporate a cycleway, it is often marked out on the road, even across junctions.

And of course, cyclists use bus lanes.

Most importantly, cars are used to bikes, and bikes are used to pedestrians. They look out for each other; there seems to be less aggression.

There is definitely less helmet-wearing, and hardly any day-glo clothing worn by cyclists. Lots of small children are on their own bikes, with the very small ones sometimes being towed in trailers.

You see some astonishing things being transported, precariously, on bikes
and personalisation of the machines -

by Margaret Cooter ( at July 05, 2015 09:30 AM

July 04, 2015

Margaret Cooter

An interesting premise for an exhibition

One of our sunny-day lakeside trips in Berlin was to the Max Liebermann villa in Wannsee. It's a very popular place to visit, and no wonder. Not only was Liebermann a collector of impressionist paintings, and one of Germany's most important painters around 1900, but the house has a beautiful setting and an interesting history.
View of Wannsee from the terrace
View of house from lakeside
Back garden from an upstairs window
Liebermann had this summer house built in 1909 and produced 200 paintings here. He died in 1935, and in 1940  his widow was required to sign over the house to the Nazi state and it became a training centre of women workers in the post office. After her suicide on the eve of deportation, Liebermann's famous art collection was seized.

Subsequently the villa was used as a municipal hospital and Liebermann's studio as an operating theatre. In 1958 the dauther, Kaethe, sold the house back to Berlin, after which it housed a diving club. By 2006, consequent on the establishment of a Max Liebermann Society, the house started to be restored and is now open to a grateful public. The sizeable grounds contain a series of hedged "garden rooms" as well as, to the rear, a kitchen garden neatly planted in the French style.

Upstairs is, until 10 August, an exhibition entitled Liebermann and Van Gogh. They were both painting in the same area of the Netherlands, Drenthe, in 1882, and could so easily have met - in fact Van Gogh travelled to go see Liebermann after his brother told him about Liebermann's painting, "The Bleaching Field" (Vincent felt a great affinity with the German painter’s choice of subject and colour in capturing the nature of Drenthe) ... but three days earlier, Liebermann had left. Although the exhibition focussed in on a non-event, it was interesting to see the two painters' treatment of the same subjects side by side.
Orchard in Drenthe by Liebermann
... and by Van Gogh

Women sewing
... by Van Gogh
... and by Liebermann
Between 1882 and 1885, both painted peasants working in the fields, women sewing at the window, and weavers making cloth. Their subsequent histories are rather different - Liebermann went on to become an established portrait painter and honorary president of the Prussian Artists' Society, though after 1920 most of his paintings were of his garden at the villa.

by Margaret Cooter ( at July 04, 2015 09:41 AM

July 03, 2015

Sarah Ann Smith

Foto Friday

So I’ve been taking this online photography course (the 52-week challenge) with Ricky Tims this year.  I decided maybe I should start posting my photos, as we have learned a lot.  So I’ll begin with my photo for Week 25, which was “Do Over #2,” meaning we could re-visit any lesson.   I re-did a number of lessons, then selected the best photo to submit.  I like this one so much I may turn it into a quilt!

Detail of the train engine at the Shelburne Museum, Shelburne, VT.

Detail of the train engine at the Shelburne Museum, Shelburne, VT.

Whooda thunk it–me, the lady all about color, considering a somewhat abstracted black and white……hmmmm……Anyway, ENJOY.  And to my fellow citizens, Happy Fourth of July!  To our neighbors to the North, Happy Canada Day two days late!

PS:  since I expect I’ll get asked, the class is closed to new enrollees.  Our sign up was in December, and I expect Ricky will offer this 52-week challenge again.  To see all his offerings, visit


by Sarah Ann Smith at July 03, 2015 05:56 PM

Olga Norris

Intensity - tennis in hand

I love watching tennis, and at present the Wimbledon matches are a real treat.  But I cannot watch while doing nothing else - which is just as well, as I watch a lot!  So right now I'm getting through piles of hand stitching.
To hand at present is a piece I named Plunge pool, but which I've come to think of as Grexit? as somehow the turmoil in Greece over the economy, particularly this week has joined the turmoil I felt when I designed the image in 2010.
As ever, the image is a conjunction of elements which just came together the day we went to see the 2010 Serpentine Pavilion designed by Jean Nouvel.   That day we also went into the Serpentine Gallery where I was given permission to photograph one of the high windows.  I had nothing specific in mind, but the look of it appealed to me.
Then walking back to the car which was parked a few streets away I passed a piece of street furniture which I snapped.
Back home the next day I put these together with a photo of my first piece of backloom weaving made when I lived in the USA (I tried all sorts of craft making then, and it was there that art quilts first attracted me).
Somehow the window looked like a pool that needed a fish, and in those days also I was looking after my mother with no additional help, so the figure expresses my state.  Anyway, that's what I am stitching now, with a considerably cheerier demeanour, and it occurred to me that it is once more appropriate - for a current Greek drama.

by Olga Norris ( at July 03, 2015 01:57 PM

Margaret Cooter

It's felting, Jim, but not as we know it

Having missed the textile graduates in week 1 of New Designers, I determined to get to the Royal College of Art show, heat or no heat, and had a good look at the printed, constructed, and cutting-edge MA projects; for the curious, each student has a profile and photographs here.

Then a quick walk-through of the Design sections - and this set-up caught my interest -

A carpentry tool as part of a knitting machine? Well, almost. It's a programmable needle felting machine, hacked from a jigsaw so it has PUNCH. The fabric samples were of considerable thickness, and the patterning can be subtle and precise.

Adam Blencowe describes his work:

Fuzzy Logic

A new technique that brings felting and digital technology together.
Using a hacked tool in combination with CNC, textiles can be bonded together by matting the fibres from one cloth into the other with a precision not typically found in felting. The marks created in the bonding process become patterns and pockets that enrich the surface of the fabric but also present the opportunity to make the material three-dimensional.
(CNC = computer numerical control)

In the felting, two layers of fabric are joined without stitch, by this busy little machine - see it at work on Adam's website. There are many design possibilities, of course, but what of the practical application, the resulting product? That is still in development. (I suggested using the fabric for absorption of sound from hard bare walls - the patterning would be striking in modern environments.) My feeling is that anyone who can think of combining plaster and ice to make molds out of frozen objects - the project is called "Thaw" - will come up with further new developments.
Strategic use of cable ties to position the computer-controlled punching needle

Fabric samples

Subtlety of design (via)
And this, the magic board, contains the history of the work of the machine - it's the foam into which the needle punches, so the marks are its tracings in making the fabrics -

by Margaret Cooter ( at July 03, 2015 09:37 AM

Neki Rivera

more me,me,me !

in great company!
my work shows at 2:07-8 and at 2:11-12. it's the top one on that side wall. excuse the abruptness of the camera.

have a good weekend and stay cool.

neki desu
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by (neki desu) at July 03, 2015 08:00 AM

Terry Grant

A start


After more than a week of getting my plan together, organizing fabric, shopping for more fabric, making sketches, making samples, enlarging sketch and just plodding through the debilitating heat, I finally grabbed my scissors and made that first cut.

Aaaaah.....that felt good.


by Terry Grant ( at July 03, 2015 12:27 AM

July 02, 2015

Margaret Cooter

Poetry Thursday - some of Ian McBryde's "slivers"

Something a bit different today - formally innovative - from an avant-garde, Canadian-born poet who lives in Melbourne, Ian McBryde. (Thanks for Alison Mary for pointing me in his direction.)
To give a context to these works, I have unabashedly plundered Ali Alizadeh's 2006 review of McBryde's 2005 book "Slivers" in the Australian magazine Cordite Poetry Review. The rest of this blog post is one long quote.

All the poems of this collection are one line long; that is, in each case the poem terminates where the line ends. So, in effect, these lines seem more like maxims, or at least lyrically condensed 'kernels of wisdom', than poems as such. ... They are ... provocative and suggestive without explicating their pernicious provenance and becoming obvious. For example:
How black is your magic? Call me.
Relax. I kept my word, burned the negatives.
If your blood begins to streak her teeth, leave.
And (this reviewer's favourite):
Christmas, Santa's claws deep in my throat.
On the other hand, such a minimalist and quotable style runs the risk of becoming quotidian at times, and some (but thankfully only a few) of the poems/lines in Slivers simply describe a natural phenomenon and only function in reference to a 'poetic' reality. For example:
Heart-frantic, a puppy runs after the car that dumped him.
Night gathers across the river.
All in all, the poignant pessimism of this poetry does not only relate to the 'darkness' of its themes and content – violence, abandonment, death, and in a few instances, the apocalypse – but also precisely to its minimalism and prosaic/linear nature.

An interview, containing his short poem Serpentine, is here.

by Margaret Cooter ( at July 02, 2015 07:55 PM

Gerrie Congdon

Printed Fabric Bee – June Edition


Lynn Krawczyk was queen bee for the month of June and chose the theme, vintage. Oops. another challenge for me. I looked at a lot of vintage clip art and I really liked some vintage keys that I found. So, I made a thermofax screen.

Off to the studio, I found a piece of hand-dyed cotton that had a bit of purple and dark and light yellows and had an aged look to it. I searched through my thermofax screens and found this check pattern which I thought could look vintage. I used a purple paint and screened it on to the fabric.


I did some experimenting with printing the keys over the checks.  I used black for the keys. Lynn wanted any color but pink. In this photo, you can get a better idea of what the base fabric was.


I tried to make the printing look worn and not crisp so that it would look old. It was bloody hot in my studio, so I did not linger.

Here is the collage of the vintage collection. Click to see a larger version.

PFB June 2015

Leave a comment on the Printed Fabric Bee Blog (you might have to wait for Lynn’s post) and/or on Lynn’s Blog for a chance to receive the collection. Deadline is July 10.

Check out the member’s blogs for their contributions.


by Gerrie at July 02, 2015 06:19 PM

Margaret Cooter

Back in the garden

Coming back to London yesterday I found the temperature in the 30s, very summery indeed, and gave up on doing anything immediately. Cooler is definitely better, and the garden was my first catching-up task this morning.

Not only has the intended herb garden been taken over by a leafy nasturtium (I stuck in some decade-old seeds, here and there, and many have actually come to life) -

but full-grown weeds have settled in - everywhere -

There is such a variety of these visitors ... they are unable to sign the guest book, but I can find out their names, should they wish to visit again. My Berlin sketchbook stilll has a few empty pages; they can be recorded there.

It started to rain shortly after I went outside to draw the weeds, so I brought some samples inside -
Impatience dictated that the samples would be young weeds - that's when you want to pull them out, after all, before they get big and flower and go to seed - or spread underground. It may require some trips back and forth to find older versions, for identification purposes.

This website has an alphabetical list of weeds found in a north london garden. I've drawn a dozen of my weeds and found several among the As, Bs, and Cs.

Of course my weed may be your cherished wildflower ... or vice versa.

by Margaret Cooter ( at July 02, 2015 01:20 PM

July 01, 2015

Olga Norris

Storage solution (with side irritation) + bonus buy

I cannot remember when I first decided that I must have a plan chest, but it was many years ago now.  This longing falls into the obsession I have with storage - something my husband suffers from too.  Unfortunately a plan chest is by nature a big beast, and I have never had room for one.  But I think I may have overcome the desire because I encountered IKEA's Alex drawers on castors.
I bought two of these - they store paper up to A2 size - and love them.  One stores paper, and the other stores small stitched work.  Now I have acquired two more for storing prints.  They move so easily, they fit under tables, and the drawers are just the right size for my needs.  Only if I ever start making larger prints will I again start thinking dreamily about a plan chest.
The irritation was my husband's: one piece was cut wrong, and he valiantly spent a three hour round trip to IKEA to have it replaced - with no blink of an apology that they had sold a defective item.
My purchase - incredibly cheap - bonus was a dish drainer which is perfect for holding my vinyl (lino) plates after cleaning off the washable ink, with the cutlery compartment ideal for the dripping implements.
I look forward to using all this newly acquired stuff, but meantime it's serious tennis watching time, so the work is confined to hand stitching.

by Olga Norris ( at July 01, 2015 10:40 PM

Sarah Ann Smith

Kimonos in Texas–memories of Mother

Tomorrow, two new exhibits open at the Texas Quilt Museum:  a solo show of work by Judith Content and a companion exhibit Kimono Quilts and Kimonos.  Judith’s artwork often takes the stylized form of a kimono on display–I so wish a trip all the way to Texas was affordable.   I am honored that a quilt I made as an 80th birthday gift to my mother is on display in the companion exhibit.  It is especially rewarding since I made this quilt long before I became a quilting professional, so I am thrilled my work meets the high standards of the museum.

Happy 80th Birthday, Mama. Exhibited in the first year of the

Happy 80th Birthday, Mama. Exhibited in the first year of the “I Remember Mama” exhibit at International Quilt Festival Houston, in honor of her mother, who had recently passed. Published in Karey Bresenhan’s book of the same name which featured quilts from the three years of this special exhibit.  PS:  my photo editing skills weren’t so great when I processed this photo–the black binding really is even in real life!

To read about the exhibit, which runs from July 2 through September 27, 2015, please visit this page.  I am honored to be included with such famous artists and quilters, and know Mother would be so pleased and proud!

Detail of my kimono shaped quilt.

Detail of my kimono shaped quilt.

I chose the kimono shape and Japanese-inspired fabric because Japan was so important to Mother.  She grew up during the Depression and World War II, and always wanted to travel.  I expect *her* mother was terrified when my mom went to serve in Japan with the Occupation Army in 1946 and -47.  Those two years were formative in her life; she developed and abiding love the the people and nation of Japan and, lucky me!, she took me on a trip there in 1996.  The quilt features photos-on-fabric of three generations:  mother and her parents/siblings, my parents and me, then at the bottom me, Paul and our boys (with a photo of Eli on his way home from the hospital–he was still a baby when this was made!).

Today marks the fourth anniversary of her passing.  As Maya Angelou said, no matter what your relationship with your mother, you will miss her after she is gone.  Some years mother was my best friend; other years were more difficult.  But in the end she finally allowed herself to show that she was proud of me and cared for me.

The last photo of us together, on Mother's Day 2011.

The last photo of us together, on Mother’s Day 2011.

My last photo of mother, taken a week before she died, and the last time I saw her sitting up.  Mama, I hope you are with Daddy, Charlie and Tom J., comfortable, memory intact and happy.   I'll see you all one of these years (but I hope not TOO soon--I still have my sons and husband).

My last photo of mother, taken a week before she died, and the last time I saw her sitting up. Mama, I hope you are with Daddy, Charlie and Tom J., comfortable, memory intact and happy. I’ll see you all one of these years (but I hope not TOO soon–I still have my sons and husband).

If anyone actually gets to the Texas Quilt Museum and can take pictures of the gallery space with my quilt and those around it shown, I’d love to see it!


by Sarah Ann Smith at July 01, 2015 03:55 PM

Margaret Cooter


An unusual pair ...
And the next day, a cavalcade of Trabis -

Was it a Trabi-Safari?

by Margaret Cooter ( at July 01, 2015 09:33 AM

Neki Rivera

dying to work

perchance to dream

dying of heat. not much energy. forecast says one more week of it. sigh.consolation prize is that it's all over europe,i bet southern europe countries are going to get blamed for this heat wave.

neki desu
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by (neki desu) at July 01, 2015 07:47 AM

Margaret Cooter

Berlin miscellany

Ornate water pump near Schoeneberg station. You see pumps here and there, mostly rather plain ones and often grafittied.

Electrical box reflects the surroundings: Mehringplatz

Another electrical box, and a "tree garden" outside a greek restaurant (note the re-use of olive oil tins)

Some of those tiny gardens are delightful oases

"Twinned with" - ??  Radhaus Steglitz

Waste bins at the Botanical Garden - sections for glasus vulgus, plasticus berlinensis,
papyrus antiquus, restus wegwurfus

Dancing in the rain, beside the river "beach"

A flotilla of raft-boats on Wannsee
Making satellite dishes into personal expressions, Potsdamer Strasse

Bike becomes floral fantasy

by Margaret Cooter ( at July 01, 2015 07:38 AM

June 30, 2015

Margaret Cooter


The high point, literally, of our day in Spandau - which is at then end of the U7 line that we usually use on the way to elsewhere - was the view from the Julius Tower in the Citadel -
The old town, seen from on high
The citadel - a renaissance fortification, surrounded by a moat - is seriously big and the tower is quite high -
You go up a central spiral staircase to a solid brick floor, and then the stairs hug the walls reassuringly -
The fortress is well worth the 4.50 euro entrance fee - there's a museum of the history of the city of Spandau, which was a Prussian garrison and in the 20th century developed various industries. And there's a cannon museum, in the parade hall -
Many more photos from there ... another time perhaps.

Spandau also has the Gothic House, which has been inhabited since the 15th century and now has a museum with an astonishing collection of models of buildings
built from kits - Anker Steinbaukasten - a toy craze dating back to the 1880s and still available today.

A late-19th century kitchen in the museum -
The Gothic House has some original features, such as this mural -
It also had an exhibition of the local art group, including this "Seidenfaden bild" by Helga Laessig -
As well as watching huge ships (and small boats) going into the locks, we did a bit of shopping (and eating and drinking) and all in all had a very pleasant, relaxed day. 
 If you want something a little "different" when visiting Berlin, try Spandau...

by Margaret Cooter ( at June 30, 2015 10:41 PM

Kyra Hicks

Meet Quilter Grace Howes in interview with Kiala Givehand

I've been interested in artists books of late and amazed by Kiala Givehand's Book in A Day video series.  On her YouTube channel is a 40-minute interview with sistah quilter and art journal maker Grace Howes of Red Barn Studios.  Enjoy!

by Kyra ( at June 30, 2015 06:57 PM

Rayna Gillman


After a delay of several hours for mechanical issues, we finally left Newark shortly after midnight.  This meant, since it was a dinner flight, that we had dinner somewhere around 2:am.  Happily, I was in first class, so the seat turned into a bed of sorts.  I slept like a log till 7:30 this morning.  We landed in Sao Paolo around 10:30, SP time (an hour later than NY time).  The international terminal is new and elegant, but empty of people.
Although, even here -- a familiar airport sight.  
The Star Alliance airport lounge is the most beautiful I have ever seen, but the food isn't very interesting or very good, sadly.  However, it, too, is pretty to look at.

So here I sit, wondering what I haven't had to eat that I should go back for.  Pasta? Meh -but maybe.  Dessert? I rarely eat dessert, but might have to see what's available.  OTOH, I could go downstairs to the terminal in search of a good empada...

by (Rayna) at June 30, 2015 05:16 PM

Natalya Aikens


Rhetoric - the art of effective or persuasive speaking or writing, especially the use of figures of speech and other compositional techniques.

Not something I'm usually good at. So I thought I would use words used by others to convey a persuasive message of my own. Or is it my own? Maybe it doesn't belong to me? Here's what I came up with:

Rhetoric. Natalya Aikens © 2015
100% re-purposed plastic shopping bags, rayon thread, matte medium.

by Natalya Aikens ( at June 30, 2015 11:42 AM

Gerrie Congdon

Finishing Work


I have been so busy finishing quilts, getting them photographed and doing my SDA work.

The redwood tree piece just about did me in. It is 40 x 40 and is made up of lots and lots of little bits of fabric. The pieces of fabric were all over The Congdo! This was to fulfill an assignment for my master class where we simplified a landscape photo. This was a difficult photo to simplify, but I wanted to do it. As a reminder, here is the original photo, looking up through the redwoods in CA.


Here is a detail:


I got a pretty good critique in my online class. I also entered it into an invitational juried show, with the theme, affinity. It did not make the cut, but I am not surprised. I just didn’t have time to something else and tried to make this work. I am not sure I will ever do a confetti quilt again – not really my thing!!

Here is the other quilt I finished and I love it. It is titled Ode to a Tree. It is 28 by 52 inches.


I used the letters I made in the workshop with Cynthia Corbin. They spell tree. I put them in a vertical format to represent a tree.


Here is a detail:

View More:

I had fun using the fabrics I created in the Judy Robinson workshop last summer. All the beautiful photography was done by Kayley Hoddick, here in Portland.

by Gerrie at June 30, 2015 04:58 AM

Margaret Cooter

Drawing Tuesday - Bode Museum

Where better to be on a rainy miserable day than in a museum? For five hours I drew and drew "old things" - made between the 2nd and 14th century.

First to the "early Italian" room, lured by the orange dress against the blue walls -
This little statue, possibly St Luke, appealed to me -
Two blind drawings, the longer pose, then back to the scribble-page for adding a different view -
Into the Byzantine rooms, attracted by these columns -
which would require craning of neck to draw, so I moved to something at sitting-down level -
 A chancel screen carved of marble in Constantinople in the 12th century -
 I loved the animals and the vines, and it turns out, from the guidebook, that the animal motifs represent death (the bird of prey landing on the back of the deer, the foxes after the hen) and the vegetation represents the tree of life - so it was appropriate to have a "secular" piece like this in a church.

These were drawn in any old felt-tip pen, the one with the deer first - by the end of two hours, the fox on the left rather got away from me, but I'm glad he did. Filling in the border got a bit tedious - there's a schema, but there were variations, and at one point there seemed to be an entirely different stonecutter imposing his own ideas -
This bit of carved marble, with its interlacings and motifs, proved surprisingly hard to get to grips with -
The dogs, with their huge tails and tongue, caught my attention, first for a line drawing in pen and then for something "more careful" with a pencil - 
and pencil again, without too much erasing, for the entire thing, kept under control by starting with the grid of small deep circles -
I'm trying to be patient, be a bit careful, and to persevere. 

In another room of earlier works, this "tomb relief with prayers and a boat" from Egypt, 2nd or 3rd century -
Pencil again, looking at tone. After lightly sketching the main shapes I started at the left and worked across -
 At this point (four hours had passed) I was starting to see both shapes and tones more clearly, and was utterly losing track of real time, even though I noted the time when I finished each drawing. The boat and prayers took 40 minutes.

Back to pen for this "fragment of tombstone with eagle and aedicula", Egypt, 7th-8th century -
 It took 20 minutes (I thought the museum would be closing imminently) - but no, it stays open till 6. I was ready to stop, though, and quickly added a bronze votive altar, about 6" high, from 3rd-4th century Egypt, and a silver spoon from the Memphis Treasure (6th-7th century) -
 and a quick look at some Coptic textiles in a drawer -

and home in the rain.

by Margaret Cooter ( at June 30, 2015 05:01 AM

June 29, 2015

Neki Rivera

too hot amigos

this morning at 8:30 when i left for my walk it was already 26ºc. we're suffering a mass of hot air from the sahara which translates to a heat wave during the whole week.
no energy to move very much, so the main activity will be cutting and pressing the sewing machine pedal. the good news is that by the end of the heat wave i'll have a full new wardrobe.

neki desu
Creative Commons License

by (neki desu) at June 29, 2015 09:48 AM

Margaret Cooter

Food (and drink)

Warning: this post contains, indeed consists of, photos of meals. Do we all take photos of our food when we're on holiday? Meals make important memories, so I'm putting mine here, in addition to mentions of sociable breakfasts, Mozartkuchen, strawberries, asparagus, and possibly the odd glass of beer recently.
Favourite home-cooked meal - mediterranean veg pasta

Favourite meal out (so far) - schnitzel at Romantica, right next door

Pakora "starter" on the sunny corner, yesterday evening; shared, we found it made a meal.
You can just about see the makeshift, but sturdy, step into the restaurant

Favourite vietnamese, in the next block, with its duality of sauces

Sitting outside the ice cream place, next door to the vietnamese

Another sunny corner and a nice carafe of picpoul

A quick beer in the corner of the forest

Blinis went down a treat in Prenzlauerberg

Today's deluxe Monday morning breakfast - note the takeaway coffee from
across the street, what luxury! - with the Today programme
 on the ipad. Tarts and cakes were saved for later.
The countdown to departure is on; I am getting sad about leaving and find myself taking lots of photos of the neighbourhood. Still, we have a good two days left ... and cake to come home to, today.

by Margaret Cooter ( at June 29, 2015 10:02 AM

June 28, 2015

Margaret Cooter

When paintings overwhelm

Overwhelmed by the many, many paintings in the Gemaeldegalerie, I found myself standing in the middle of room after room looking around to find just one painting to look at more closely. Often it was one of the "quieter" paintings, rather than something with lots of figures and action, referring to a story that I might not know. (Labels had the barest details, no helpful background information about the content.)

This one caught my eye because of the dark shape - a woman shrouded in her shawl -
Giovani Gerolamo Savoldo (1485-1548), The Venetian Woman (Mary Magdalene), 1535/40
 It was the start of a collection of brown-ness: shot silks, satins and velvets ...
 Alas, details for some paintings are missing from my notebook.
 With this one, the attraction was its fragmentary nature - torn canvas put in a frame -
Simon Vouet (1590-1649), fragment of portrait of Virginia de Vezzo [his wife], 1624-6
The criterion for the collection stretched to brown fur -
Francesco Ubertini (Il Bacchiacca, 1494-1557), Bildniss einer Frau mit Pantherkatze
[puts me in mind of surrealist Leonora Carrington]
And have you been noticing the sumptuous frames?

Really looking...

Having this list to hand would have helped with looking closely at those "busy"pictures - it comes from but you don't have to be a teacher or child to use it -


  • Describe what you see.
  • Describe the artist's use of color. How many colors have been used?
  • How has the artist applied the paint?
  • Describe the texture.
  • Describe the lines in the work.
  • What kinds of shapes do you see?


  • Is your eye drawn to any particular area of the painting?
  • Is there an element that stands out in the composition?
  • Is the composition balanced?
  • Does the work make you think of movement? How does the artist show movement?
  • Does the painting look flat or does it give a feeling of depth or space?
  • Where might the artist have stood while painting this picture?


  • What kind of mood or feeling do you get from the painting?
  • If you could imagine yourself within the painting, how would you feel?
  • What sounds would you hear?
  • Why do you think the artist choose this particular subject to paint?
  • What part of the landscape, building, person, animal etc. most interested the artist? Why do you think so?


  • Find an interesting painting. Why is it interesting to you?
  • What do you like or dislike about the work?
  • The more you look ... the more you will see.

With little time to look at a painting, it's likely that our first response will come from the "judgement" category - I "like" or "don't like" the painting. The times I've participated in the National Gallery's Friday lunchtime "Talk & draw" sessions, for which it's a good idea to arrive rather early, have been enhanced by the change to look and look at the painting-of-the-week. Even without concrete questions; sitting there, you can make your own agenda - "find all the red"; "find all the yellow"; what's going on in the foreground, the background; how is that group of figures related; what are the figures looking at.... Etc.

by Margaret Cooter ( at June 28, 2015 09:40 AM

June 27, 2015

Margaret Cooter


That's the old Tempelhof airport building in the background; hoeflichkeit=politeness
(waste bins in the street are very entertaining)

There are also tiny orange streetcleaning vehicles are called Lilliputz (putzen=cleaning)

There's an U-bahn station called Onkel Toms Hutte, named after a housing estate
that was named after Harriet Beecher Stowe's book (pommes=chips/french fries)
If German puns are your thing, have a look here. Let's move on...
Flowery street in the sky...

"Farbe muss gesehen werden", said Walter Benjamin, "colour must be seen"
 ... would he have enjoyed this "farblosigkeit"?
 Some enlightenment for walkers along Am Kupfergraben ... can't find out how or why they are there...
"If anyone can do it, it's not art, and if one can't do it, then it's definitely not art."
Karl Valentin also said "Kunst is schoen, aber macht viele Arbeit" - art is lovely, but makes a lot of work

"The eye is the best tool for finding out the questions one must ask" - Peter Hauser (who he?)

"No one in the world gets to hear such rubbish spoken as the pictures in a museum" - Jules de Goncourt
and  "One waits and one always arrives late" - Peter Hauser again

by Margaret Cooter ( at June 27, 2015 09:00 AM

June 26, 2015

Terry Grant

Plaid Fatigue

So, I have these ideas about American landscapes and I made my little test landscape and I used my shirt fabrics because, you know, that's my thing, and that's what I've been using. And the more I have been doing my mental preplanning, the less excited I am. Not about the basic concept, but I am really just kind of burned out on the plaids and stripes. I didn't see that coming, but there it was. Last night as I was drifting off to sleep I had a vision of clean, pure flat color.

I have that. Twenty plus years worth of collecting solid color fabrics.

Most fabric artists don't really love solids. Many say there is just not enough variety available. They probably haven't been collecting long enough. Others just don't like that flatness. I sorted through my solids today. These are the bigger pieces. There is another tub of smaller pieces. I'm a little light on blues—not my favorite color. But I'm leaning toward setting the plaids aside for now and digging into those solids. I noticed I have a lot of white and more pink than I will ever use, so I threw a big chunk of each into my nearly exhausted blue-gray dye pot.

I am smitten with the smoky softness of this formerly pink, now dusky purple and that cool, foggy blue.

So. No fabric has been cut. I am thinking, thinking, thinking. I've made stuff with solids before.

American landscapes. I guess it's not really a new idea.


by Terry Grant ( at June 26, 2015 10:39 PM

Dijanne Cevaal

It's Winter Here Brrrr

The experience of beautiful warm weather in Europe landed with a thud as of course it is the middle of winter southern Australia, and I must admit I am more of a summer person than a winter person at the best of times. I stayed with my mother initially but she has no internet, I do have one  of those sticks but as I knew a week after arriving I would be housesitting with good wifi access there was no point wasting the money. I do have a mobile of course but my texting skills leave something to be desired....I had hoped to have organised more house sitting, but  I have found out that many house owners are overwhelmed with applications when they post  a house available on the website to which I have paid to belong. So of course you do not get street cred if you do not have plenty of  references. I have also found it disconcerting that there is no place to put the fact that I have a working with children's check which is much more thorough than a police check ( and I don't feel like paying for two lots of checks, given it already costs a goodly sum to join the website )

( don't read if not so inclined ...I will  move to my shed but not  until the weather warms up in late October ( when I get back from Europe)- it's too cold and damp there at present and I have not stockpiled any wood  for the  heater either.The suggestion of  BNB was a good one but not one I can do as essentially due to the legislative changes no one can live on the block despite the fact that it is zoned residential. Basically the new legislation ( from late 2011) that is causing me the headache has stated that there will be no building/waste water renovations on blocks less than 40 hectares in water catchment areas, until such time as the Council brings up a Waste Water Management plan- and that is what I am (and many others) are waiting on- there is still no plan in sight and if and when it does come, it has to be put up for public input- meanwhile no one is applying for permits, or selling vacant land and of course blocks with houses on have seen increases in price- which means that my rates have gone up despite the fact that nothing can be done on my land- i think its grossly unfair that vacant land is rated on the same  basis as occupied land- I think it's grossly unfair that a council can put my life on hold for over three years and now and it looks as if it will be longer and the tone of letters I am getting from the council are bordering on obnoxious.I feel as if my land has been compulsorily acquired for "clean " water without the benefits of compulsory acquisition and with a rate increase to boot! Council have it  in their power to grant a moratorium until such time as their plan comes into place, which they refuse to exercise because wait for it my land is is presumed I have another property to live on despite the fact that I have told them this was my share of the property settlement when I divorced)

So meanwhile I am treading water  and so have decided to go to India for a month after the middle of July and see my friend Fiona Wright from Creative Arts Safaris- we want to do some further searching on the indigo and wood block  printing fronts.

Yesterday I went to see the John Wollesley exhibition at the NGV at Fed Square in Melbourne and as I overheard someone in the exhibition say "They have to drag people off the street to see this!" I wish I could share images but in all reality the whole exhibition has to be seen. Have a look at this video to get some idea of how John Wollesley works- the exhibition was simply breath taking- glorious actually and the NGV volunteer guide Elizabeth Douglas, offered insights on so many levels.  As this exhibition is FREE I think I shall be making a weekly pilgrimage. It opened my eyes to a whole new way of looking at my aforementioned situation....long have I  played with banksia and banksia images- these knobbly weird seed pods have captured my imagination since childhood... there are some on my block in Gellibrand, perhaps they can be my totem- plus the Gellibrand river is home to  species of life that is forever shrinking... maybe  whatever the universe has in mind for me one is  mapping that area in my own way and for that I need to live closer to the earth and be in my shed- the notion certainly put a spring into my step and has had my imagination racing all night and all morning and I can see something positive in it all and something that at the same time  allows me to express my  concerns for the environment and clean water.... and be creative as well. So thank you John Wollesley for your marvellous insight into marginalised land, its minutae, its diversity, it's wonder, its miraculousness ,it's harshness, it's rhythm, its ancientness , it's vitality and it's endurance, it's ever increasing marginalisation at the hand of our greediness for land , but ultimately your hope as well..... in fact I might head back there Sunday- anyone want to join me?

Did you know some dutch citizens have taken their government to court and won in the first ever climate change liability suit? The Dutch government has been ordered to cut its carbon emissions !!! one for the people!

And last but not least. I still have dragon, rabbit, King and some Queen panels available for the Medieval Project ( there is more information on the tab  on the tool bar of the blog). They can be purchased from me by emailing me . There is also some olive tree panels ( they are $15 plus postage- approx $2) and some  rabbit panels ( bottom left and $10 plus postage).

And of course my book Musing in Textile:France is available from me- again email me as prices vary depending on destination. However if you order and pay before 30 June 2015 ( panels or books is does not matter which) a hand print on hand dyed fabric will also be yours at no extra cost.

by Dijanne Cevaal ( at June 26, 2015 02:20 PM

Olga Norris

Full bloom

A cascade of blossom: our Félicitéet perpétue rose is magnificent this year.  I just have to lean back from my desk, look right, and there it is.  There are nests in there too: a blackbird earlier in the year - now singing to our delight.

by Olga Norris ( at June 26, 2015 11:45 AM

Margaret Cooter

You're never far from the sewing scene

We had walked past this shop on Crellestrasse before -
This time there was a basket of Stoffreste outside, and nothing gets my attention quite like fabric remnants. Guenstige Preisse, what's more! I chose the pink one and went inside to pay
and, as you do, fell into conversation. This was the first sewing shop I'd seen, I said, which got a surprised reaction - "Berlin is in the grip of sewing fever, there are shops everywhere!" - well, we'd been avoiding the shopping areas - "That's probably a good thing." (Oh dear, was it my paltry purchase that marked me out as (a) consumption-adverse or (b) poverty-stricken?)

Volksfaden [love the similiarity to Volkswagen] is a lovely little shop and if I lived here I'd be a regular customer, making bright and cheerful things.
 In addition to fabric it has buttons, ribbons, patterns, magazines...
 ... and a proper big old typewriter ...
"Sewing like crazy!"
Volksfaden stocks knitting yarn, too, And in the back room were four sewing machines in zingy (if black and white can be zingy) fabric covers ... note to self: use something really nice from copious stash to make zingy dustcover for sewing machine (incorporate a bit of the "souvenir" pink fabric).

by Margaret Cooter ( at June 26, 2015 10:10 AM

Drawing Tuesday - the South Seas, mostly

The destination
Having read about "the boats" somewhere, I went to the Oceania section - and sure enough, the boat collection was impressive ... but poorly lit, too distant for my dim eyes, and incredibly complicated -

So I settled down with the "Stabkarten" from the Marshall Islands, which have long intrigued me - how can these things be "maps"? -

A sort of plan of attach evolved as I did the first blind drawing, following first the lines of the sticks and then looking at the spaces formed -
In the "careful" drawing, other details surfaced - the interweaving of the sticks, the placement of the shells (islands? stars?), the way they were tied together - which of these were meaningful to the users? Were "we" meant to decode them?

I've been intrigued by these maps for some time. This one was collected by Winckler in 1893 - he is the authority on these charts -
In this one section the museum has much to offer -

Forms of money - shells, feathers, "salt money", worked items

The "hooked figures" from the Sepik valley of Papua New Guinea where fascinating -

Suddenly I realised I was getting too involved in looking at the exhibits, reading the labels - rather than looking at the objects and drawing them. This was quite confusing ... and easy to do when you're on your own. Indeed, it can be part of the "project" - today I was looking at cultures that were new to me, so I got involved in the little film of cooking sago in the traditional pottery bowl, which allows a fire in wooden houses, and the associated traditional pan in which the sago breads are fried - a short excerpt (filmed in 1973) that raised questions about how the sago was prepared before it was cooked, about the time all this would take up, about much more.

The display of different sorts of houses
 was complemented by a case of models
 which I drew from another angle -
Artefacts from a men's house - at the back, painting on bark cloth. The spikes were used to hold trophy heads obtained in warfare -
The colonisers got represented too -

Large masks, collected in 1912 from the Baining people of Papua New Guinea -

and some dancing staffs from Duke of York Island

Another Baining barkcloth mask
Attached to the Ethnographic Museum is the Asian Art museum. On my first visit in 2009 I drew the Thai pots, some of which were made about 1200 BC, and they called to me again this time -

This delightful jar in the shape of a water buffalo was made about 2300 BC (Lopburi culture) -
Several attempts to draw him just didn't turn out; it was the end of the day.

An extra drawing day on the Friday took me back to the ethnographic museum, Africa section this time, and to the adjacent Museum of European Cultures ... more about that another time perhaps.

Today I'm off to the Bode Museum - Byzantine and early Italian sculptures.

(This post is linked to Off the Wall Friday.)

by Margaret Cooter ( at June 26, 2015 09:53 AM

Neki Rivera


or maybe glorification of  hardship? your call.
have a great first summer weekend

neki desu
Creative Commons License

by (neki desu) at June 26, 2015 08:00 AM

June 25, 2015

Margaret Cooter

Poetry Thursday - The Song of Wandering Aengus by William Butler Yeats

"The crowd hushed and “Yeats” (the actor Colm Farrell) began
to declaim a poem." (by 
Róisín Curé, via)

The Song of Wandering Aengus

I went out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing,
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.
When I had laid it on the floor
I went to blow the fire a-flame,
But something rustled on the floor,
And someone called me by my name:
It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran
And faded through the brightening air.
Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands,
And walk among long dappled grass,
And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun.
William Butler Yeats (via)

Apart from the lovely and famous "The Lake Isle of Innisfree", which we "did" at school, I'm not aware of having all that much contact with Yeats' poetry, yet his work has appeared in Poetry Thursday twice before - The Second Coming and Old Men Admiring Themselves in the Water. Biographical details and links can be found there.

Thanks to Sheila for this link - might anyone else out there wish to divulge any poetry encounters?

by Margaret Cooter ( at June 25, 2015 09:28 AM

Olga Norris


An intriguing sculpture greets the visitor on entering the RA Summer Exhibition.  It takes the damaged classical Greek model into a plastic corrugated sheet reproduction.  We found that it works, and pleased us.
Matthew Darbyshire: Captcha No.11 (Doryphoros)
Sometimes the paintings with the most powerful effect on me were ones where the figures were an element in something larger.  Mick Moon's work has often attracted me, but never so much as in the two paintings Noon Fishing, and Dawn Fishing, the first with people, the second with birds.
Mick Moon: Dawn Fishing
Mick Moon: Noon Fishing
Jock McFadyen's Inverleith Gardens I liked best of all his submissions to the exhibition this year(scroll down in the link), the others empty of people.  But his paintings usually have people in their spirit, if not actually pictured.
There were several prints which drew me across the room: all of Peter Freeth's (scroll down this link) including Mr Parkinson ventures down Oxford Street, below.
In the same mood is Celia Paul's Self Portrait in front of the Museum.
I love the trace of colour in this overwhelmingly grey and shadowy print by Barbara Jackson: Transience 3.
And the slight touch of almost the same colour in this delightful piece by Andrew Pavitt: The Coppice Man.
There is fun in Dame Elizabeth Blackadder's Two Snapper
and back to the thought-provoking with Susan Aldworth's Enlightened.
My favourite linocut was Eileen Cooper's Diana and Actaeon.
And I was not disappointed when looking for Stephen Chambers' new work.  It was the group of etchings entitled My Shitty Sisters which delighted me.
A couple of pieces gave me passing pleasure, such as Simon Kirk's Claude
and Denton Corker Marshall's small drawing

But, of all the pieces in the whole exhibition, the work which attracted and inspired me the most was a drawing and watercolour by David Remfry
I love it.  I was delighted by the trees tangled with the woman's hair, and the birds which are all frequent visitors to our garden.  It has inspired me to return to a doodle I made a wee while back, prompted by seeing again a reproduction of a painting by Dorothea Tanning.  I shall now get on with turning it into a lino print.

by Olga Norris ( at June 25, 2015 09:24 AM

Neki Rivera


 tokyo view

szombatheli keptar june 25 opening of the 5th textile triennial. 
 on their page:left hand side click on second thumbnail then click on mini textiles. you'll see me there.

neki desu
Creative Commons License

by (neki desu) at June 25, 2015 07:53 AM

Margaret Cooter

Mary, reading

Raphael, 1508

Pinturicchio (1454-1513)

Raphael, 1502

Giolamo di Cotignola (1500?-1559?)

Rubens, 1625-8
A small collection from the Gemaeldegalerie.

Why is Mary depicted with a book? In annunciation scenes from the middle ages she had often been shown with a spindle and wool, because of the popular belief that she had been spinning purple yarn for the temple curtain when the angel appeared to her.

With the rise of literacy, especially women's literacy, in the 14th century onwards, as a role model Mary is given a book. In annunciations, sometimes it's a psalter or a copy of the scriptures, with the page open to Isaiah 7:14 - the prophecy that a young woman will shortly give birth to a child whose name will be Immanuel, "God is with us", and that the threat from the enemy kings will be ended before the child grows up.

In the mother-and-child paintings, on the one hand she has the written word, and on the other, the word made flesh.

by Margaret Cooter ( at June 25, 2015 08:13 AM

June 24, 2015

Terry Grant

A Continuous Line...

One of my favorite things about our big cross-country road trip was watching the landscape change along that 9000 mile continuous line. Anyone who has traveled around this vast country knows that the geography is very diverse. You know when the plane lands in Albuquerque that you are definitely not in Pennsylvania, but flying doesn't ever give you a picture of the transitions that get you from one distinct landscape to another. I became a little obsessed with that idea and I started snapping a lot of photos from the car window that showed examples of The changing face of the countryside. Here are a few of the photos.


Just so many kinds of beautiful...

Naturally, I guess, I began to envision big, horizontal quilts. Not traditional landscapes as much as abstracted impressions. I'm still not quite sure how I might accomplish this, but I tried the idea out small.

This is a tiny little test piece. (10" x 12") but I think something at least 36" wide is what I am thinking I want. I think it has possibilities. I don't much like the sky, but I can see better ways of dealing with that.

By the way, when I showed the bottom third of the composition in my last post commenters guessed it was farmland in Kansa or Nebraska. It was actually inspired by an amazingly green stretch of New Mexico where the brushy country was cut through with dry stream beds revealing layers of red and pink earth.

So this could be the beginning of a series. I'll share it as I go.


by Terry Grant ( at June 24, 2015 11:47 PM

Rayna Gillman

vacation on the deck

After yesterday's impossible heat/humidity, the rain cleared it away and today is soft and dry with a lovely little breeze.  A perfect day. I'm taking advantage of it with a mid-afternoon break on the deck, from the computer, where I was researching the Sao Paolo airport (reviews from travelers are grim and apparently nobody in this international airport speaks English (or even Spanish or French)  Consequently, I have been on Google translate trying to find out how to say "where is the ladies' room?" and other various necessary questions in Portugese. I did find the airport website, which at least told me that my arriving airline and departing airline leave from the same terminal -- and that I have my choice of two airline lounges.  Both of my flights are overnight, so my 11 hrs in the airport between flights is during the day.  At least I won't have to worry about where to sleep while I am there.

The Bambis have been ransacking my garden again, despite the anti-deer spray. I was so happy to see these beautiful daylilies yesterday, that I took pictures.
Here's what my garden looked like this morning.

I am attempting to get two weeks worth of clothes and five days worth of 4 different workshops into one suitcase.  Right now, all my stuff is on the living room floor - do you see why I need a mid-afternoon break?  This is probably an exercise in futility, but I have numerous flight changes en route to Durban and think that one suitcase has a better chance of arriving than two. It's a crapshoot, however  and we will see.

I have also loaded up with 5 or 6 books in my carry-on (what else will I do for 11 hours in an airport?)]

On another subject, as I was going through my UFOs the other day, I came across this top that I never made into an actual quilt.  What was I THINKING?  1976.  Cut with scissors, pieced by hand. I am trying to decide how to cut it up.

That's today's update.  I am now going to put my feet up, read the rest of today's NY Times, and then force myself back to the packing and the organizing (not necessarily in that order. 

by (Rayna) at June 24, 2015 07:05 PM

Olga Norris


Although my own self-expression comes through the figurative, I am both inspired by and attracted to landscape art.  How it filters through I'm not sure, and frankly it is not something I now spend too much time thinking about.  As with the abstracts, I just enjoy the art.  It's all a question of emotional triggers and recognitions, and perhaps a more relaxed appreciation because there is no element of competition.
Vanessa Gardiner's work has attracted me before, so I was immediately drawn to the familiarity of her Harbour Coast.  But I find that although the attraction renews itself on initial impact, it does fade relatively soon, and it is only when I have not come across her work for a while that I am drawn to it.  I really greatly prefer her drawings to her paintings.
In a different way, I find that Norman Ackroyd's etchings appeal to me most when seen in groups.  So I was delighted to find his Galapagos series hung together in a grid of images. 

Prints constituted the majority of the landscapes which appealed to me at the Summer Exhibition, including those of Jason Hicklin, Rora Head, Hoy seen below
and Barbara Rae's Feasgar
and Emma Stibbon's Lead II, and her other pieces which can be seen by scrolling down on the link
and Jeremy Gardiner's Worbow Bay, Isle of Purbeck, April
and Iona Howard's Goonhilly Downs - I was beginning to notice a repeated attraction to the effects of carborundum.
Charlie Waite's Orgiva, Spain from a distance looked a pleasant arrangement of trees, but a closer examination showed what a wondrous photograph it is, the trees sculptural with a kind of patterned background of distant scrub, and the dancing blossoms all over, bringing lightness above a glorious curve of earth.
Merlyn Chesterman's Atlantic Roller brought together my love of waves/the sea, woodcuts, and that horizontal format when so obviously appropriate. I am sorry that I've been unable to find a larger image.  Here is her website.
Another horizontal woodcut is Julian Meredith's Itchen River System.  This appealed to me also because the Itchen is not far from us, and a late very good friend and former colleague had her office magically and memorably right on the banks of that river. 
A strangely wondrous print, made more intriguing by being hung high in such a way that it is not immediately obvious that it is not just landscape is Catherine Greenwood's Silbury Treasure.

One work which is both print and book not only attracted me, but once more frustrated my curiosity.  I always want to turn those pages, and am not wholly content to settle for the double page spread shown. 
Hilary Powell's Legend: An A-Z of the Lea Valley looks beautiful open at P (although pictured here at D - perhaps they turn the page every day), and I found my curiosity more than simply satisfied on her website.  There is a vimeo film which shows each page beautifully.  A quote on the web page sums it up beautifully: "It's an amazing archive as well as an exquisite object." 

by Olga Norris ( at June 24, 2015 01:20 PM

Margaret Cooter

Signs and suchlike

As happy as the day is long ...
Letterbox in Dahlem
Haircut, anyone?
Variations on the letter A, library door
Workmen's tools, Schloss building site open day
"It was here on 11 August 1962 that Gert Hoffman was dancing
to verboten rock'n'roll music when he fell to his death, inventing
stage-diving in the process." Advertising for a music festival

by Margaret Cooter ( at June 24, 2015 10:21 AM

Neki Rivera

may i ask why?

full needle rib hates me? two full days at it and this is the only sample worth calling itself that.
however: the stitches are wonky, i had to loosen the tension a lot because the carriage was very heavy to  operate. one needs full needle rib to do pin stripe ribbing, but if the tension is loose the ribbing effect gets lost; i bet you can't see those 3 rows.SIGH!
will keep at it until i get it. this %º** stitch is not going to bend me.

neki desu
Creative Commons License

by (neki desu) at June 24, 2015 08:00 AM