I just finished a 10" x 20" panoramic snapshot rug of my sister and I riding bikes last summer on Mackinac Island. Wade snapped this photo of us with a long lens so that the photo would be candid. This picture is extra special to me because I had undergone surgery about six weeks prior, and the recovery was tough. So to be able to get on that bike and ride around the island felt like a miracle. All the more so because I shared that ride with my sister, but also my husband, son, and niece.
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I finished my first sculpted hooked project, my hand. Cheryl Bollenbach taught me how to sculpt. You can't see the sculpting so well in this two-dimensional photo, but the hand is made in three dimensions with rounded fingers and knuckles.
This project was tougher than I thought. I found myself fighting to pull some loops higher than others, and high enough. I am so used to correcting my loops as I hook to keep them flat. While it was difficult, there was something very liberating about pulling different heights, especially around the cuticles, knuckles, and various wrinkles.
The main problem with the piece was hooking a ring that was distinguishable from the hand. After a failed attempt using wool strips, I went to the sewing store and bought some metallic ribbons. Once I hooked them, the rings worked, and then so did the hand. The piece got its name: My Rings.
I am continuing on the Mackinac Island series with a third 5" by 7" mat called Red Geranium. Anyone who has been to the island is awestruck by the profuse blooming red geraniums, how they grace window boxes everywhere and march in white troughs along the porch of the Grand Hotel. I figured that any series on Mackinac Island has to include this delight.
Red Geranium, Mackinac Island Series, 2018, 5" x 7", designed and hooked by April D. DeConick, linen foundation with hand-dyed scrap wool.
I still have halfway to go around the border of my bench cover with the Bighorn sheep. Tired of hooking rectangles! So I pulled out a series of wool snapshot mats that I wanted to do for some time and got started. This is a series of 5" x 7" photos taken on our summer trips to Mackinac Island. I don't know how many will finish the series, but here are the two I did this weekend.
Tea at Fort Mackinac 2018
Alexander and Horse 2018
I have rehooked the background on the Bighorn bench cover four times. No color was right. So I went back to the oatmeal and decided that it needed to be distinguished from the Cockeyed Stitch I used in the animal itself. So I worked on creating a Basket Weave Stitch. Super easy to do and what lovely texture. I am amazed at the way the change of a stitch can make all the difference in the world.
So how did I do it? Here is a short how-to video I made.
I have finished the main subject of my oversized bench cover. I am now moving on to the background and then the side border. I had planned a very dark chocolate for the background, but now I am worried that I will lose the sheep to the brown. I also dyed an oatmeal which is just a tad bit brighter than the linen background. I don't care for light backgrounds, but that may end up the case with this piece. I am going ahead with the dark background to see if it will work or not. If not, oatmeal it is.
It all depends on the cutter system you have. Using my Townsend cutter meant at least an hour, maybe more.
This afternoon I tested my new Big Shot cutter. Hard to believe, but ten minutes. An entire yard of wool done. So now I have more time for rug hooking!
I purchased the Big Shot system from The Old Tattered Flag rug hooking studio.
For Mother's Day, Wade and Alexander bought me a wonderful rug hooking gift. Because of my surgery, I haven't had a chance to share a post about it.
They purchased it from Julie proprietor of The Old Tattered Flag rug hooking studio. Julie has a video on how to use the machine on her website.
Julie is so inventive! She wanted a way to cut bigger amounts of wool strips at one time. So she took a fabric cutting machine called The Big Shot and had custom dies made to cut our wool strips. You purchase the machine and then the different size dies you need from her.
I couldn't be more pleased. When I create a new rug, I spend a huge amount of time cutting my wool initially on my Townsend cutter (which I love but it is slow going). But with my new Big Shot cutter, I can cut two layers of wool in 6"x18" strips in one crank of the die.
Here's how it works. First you place your wool on top of the black die pad. You sandwich this between bottom and top plexiglass plates. You insert this sandwich into the machine and turn the crank. After the sandwich passes through the machine, you remove the top plexiglass plate, and you have cut an entire strip of wool at one time. I use the #6 cut die. The machine will cut 27 #6 strips with one layer of wool and 54 strips with two layers! Magnificent.
Having experienced this new cutting system, well, I wouldn't be without it. I highly recommend it for any serious rug hooker. It is worth its weight in gold (well almost!).
This bench is taking longer than I thought to hook, but I am making progress. Thought I would post a picture of the progress over the last few months. I am working on the second horn now.
Back a couple of years, I taught my wool snapshots workshop at Sauder Village, and, since it was only a day-long course, most students did not finish there work on site. Terryl Ostmo got busy with life but recently returned to her project and finished it. She sent me this picture, which shows how adorable these miniature pieces are. Just wonderful how she captured the delight of her son Karl on his third birthday.
I am finally able to write a post about a new project. Billy the Bighorn is inspired by our vacation to the National Parks last summer, when we spotted a herd of bighorn sheep on the top of Mt. Washburn, Yellowstone National Park. Even though we weren't able to capture a close up photo of one of these bighorns, I was inspired by a photo taken by Steve Woodruff (see below with link to its original website). Mr. Woodruff kindly gave me permission to use his photo and adapt it to a rug.
Over winter break I was able to complete the dyeing for the wool which includes these colors:
- 14 Faune Brown
- 27 Lake Agate
- 48 Tanglewood
- 58 Will O'Wisp
- 36 Red Roan
- 6 Moorland Moss
- 45 Rosehip
- 38 Rosewood
- 21 Toadstool
- 51 Fruited Raisin
- 23 Shades of Dusk
- 7 Sherwood Green
- 20 Black Cherry
- 59 Briar Rose
The rug is being created to cover a large bench footstool, the top is 21 1/2 by 44 inches. I was inspired to do this when at the end of our vacation to the National Parks we ran across a used upholstered bench in a used furniture store. I was so delighted, we bought it without too much further thought and then had to figure out how to load it in our van which was already stuffed full of suitcases and other travel necessities.
Before we went back to school, I managed to get the pattern created and drawn onto the linen foundation, my wool stripped, and hooking started. Billy has an eye!
I started this project last summer after returning from Rome. It consists of three 10" x 10" hooked canvases framed in a triptych series. Went back to it in August and finally finished them in white wooden boxes. The idea was to create a panel of wool snapshot memories of our adventures in Rome. Alex, Wade and I each selected photos of ourselves and various artifacts we especially loved. Then I hooked them into this series using my scrap materials.
My canvas contains a photo taken of me at the Dionysus House of Mysteries at Pompeii. A clay sculpture of Demeter and a marble of Athena. Wade's canvas contains David, Venus, and Galileo. Wade's photo is one of him sporting a hat he bought in a Roman bazaar. Alexander's canvas has the famous mosaic of Alexander the Great and an ivory mask of Apollo. Alexander is sporting a cap that he bought in Rome at a men's store, and wore almost every day on our trip.
What a whirlwind! After traveling throughout the southwest and west visiting as many national parks as we could in four weeks (it is the 100 year celebration of our national parks), we made it over to Ohio and Sauder Village on opening day Wednesday. Had a blast. Then drove back to Houston. Exhausted to say the least.
Saw my rug "Jesus of Nazareth" in the Celebrations display along with a number of excellent Celebration rugs that I fell in love with - including my two favorites this year: Dana Psoinas' version of Red Riding Hood called "The Guardian", and Susan J. Baker's adaptation of "Greta Garbo" which graces the cover of the Celebration magazine.
Celebration Rug Highlights
Other Show Favorites
My self portrait "Red Glasses" was displayed below what may be my favorite rug at the show and the one that won the People's Choice Award for the Originals Category: Nancy Thun, "Heathen Hill". Am so proud of Alexander and his "Galveston Gull." He was inspired by Dana's fairy tale rugs, so he is now talking about a dragon and knight rug as maybe his next rug.
Also eye-popping was Liz Marino's fine-cut photograph rug "Martellotti's Family Picnic circa 1928". Her rug won both the People's Choice Award for the People and Places Category as well as the Sauder Award selected by Mrs. Sauder. Absolutely love my sister's footstool with the geometric roses she created and the black and white striped border. I am now inspired to hook a footstool even more than I was before. The good news...on vacation I found a second hand black leather footstool (21 by 44 inches) with a flip up top. So guess what my next project will be!
After Alexander finished a portrait of his Grandma's dog Sassy at Christmas, he decided he wanted to turn his attention to figuring out how to hook landscapes. While our family was here visiting at Christmas, we went to Galveston Island and snapped a great photo of a gull wading in the sea. Alex came home and I got the photo transferred onto linen for him and he started to hook it with a bunch of wool palette swatches and scraps from my scrap boxes. It is a good thing that Sauder comes around once a year because it is real motivation to get these rugs finished. Here is Alex's rug mounted on a gallery wrapped canvas frame, all ready to be shipped to the exhibit.
Alex says about his rug: "I love doing landscapes. I learned that I needed to put very different values on the bird and the surrounding water in order to see the bird."
Today I finished stretching and mounting my most recent portrait on a canvas-wrapped frame I assembled. It is a self-portrait called "Red Glasses". The finished rug is 30" by 30", so it is quite over-sized.
The reason for this project was to develop a series of wool palette packs that can be used to teach portrait rug hooking in the Face Zone course that I am developing.
The intent of this rug artistically was to play with muted grayed colors and soft textures that I overdyed in 8 values. I wanted to see if the textured wools make any difference in the overall look of the project. I am still out to lunch on this. Sometimes I like the textures, sometimes not. I really thought there would be more difference in the final look since I incorporated so many different textures in the piece. But honestly, I think the plain wool would have worked just as well. I don't see any overall "great" effect in terms of increasing the volume of textures.
My main frustration with this piece was that I started with wool dyed in hues that were too grayed, and frankly, I looked dead. So I had to start adding in red and red-brown tones so that I didn't look so corpse like. This also meant quite a bit of reverse hooking. I probably rehooked the face three times over before I was satisfied with the color. The glasses I rehooked twice.
In terms of color, I incorporated 13 colors (8-values each; in plain and textured wool) as follows: 23-Shades of Dusk; 31-Gossamer Gray; 51-Fruited Raisin; 40-Spanish Moss; 10-Norfolk Lavender; 68-Carcoal; 15-Milkweed; 42-Sea Shells; 1-McIntosh Red; 44-Red Oak; 59-Briar Rose; 33-Highland Lilac; 18-Red Birch.
Below is the original photo I used as inspiration, and some of pictures of progress.
I was so surprised when my Rug Hooking magazine came in the mail today. I had no idea that my rug Satu has won a Reader's Choice Award for the Celebration of Hand Hooked Rugs contest, and that Satu is featured on the cover! What a happy surprise.
The magazine is wonderful, featuring children and youth rug hooking. The article I sent in about Alexander is published along with a number of other inspiring pieces about children creating their own wonderful rugs. It looks like rug hooking is alive and well in the next generation!
While I am working on the tree headboard abstract, I decided to start a second project because I would like to create a kit for teaching people how I design and hook portraits. The problem is always the wool, which needs to be dyed in values and standardized in terms of colors. So that is why I am working on this particular project. It is a self-portrait head shot. I need to dye a few reds and rehook the glasses because I used scraps and so the glasses feel "off" to me. But you can get the feel for what I am doing. Another larger rug: 30" by 30".
Just before the holidays, we upgraded our queen bed for a king. When we put it in the room, it felt really BIG and LONELY. Looking at the space, I decided that it really needs a head board, a BIG head board. Why not hook one?
I try to do a project every year that I can learn something new. This year I wanted to do something with an abstract feel, but still image oriented. So I went through my photos and chose a picture I took in Brenham of a big live oak, mainly its branches. I fiddled with it in filter programs and came up with this image that I then transferred onto linen with the assistance of my sister and my mother-in-law over Christmas.
I have been working a couple of weeks and have made some progress, although this is a really BIG piece, in the area of 70" by 30". So it is going to take a long time for any significant progress to be recorded.
I am using 17 colors, 8 values each, in both textures and plain wool. So that means that I have 272 different wools in play: 64-Fiddlehead; 29-Tom Thumb; 31-Gossamer Gray; 23-Shades of Dusk; 18-Red Birch; 59-Briar Rose; 51-Fruited Raisin; 55-Nymph Green; 33-Highland Lilac; 6-Moorland Moss; 10-Norfolk Lavender; 11-Jack Horner Plum; 46-Black Orchid; 68-Charcoal; 49-Fingorn Forest; 41-Fincastle Brown; 15-Milkweed.
Alexander finished his newest hooked piece which he gave to his grandma for Christmas this year. It is a portrait of the dog, Sassy, she takes care of during the week. He created the portrait from a photo we took of Sassy this summer when we visited grandma and grandpa. Alex used all wool scraps, #6 cut, and had some frustration due to the fact that his rug hook was misplaced so he had to use mine, which he claims is not as good. The red background is from a piece of red wool that Gene Shepherd kindly gave to him in San Antonio at the ATHA Biennial and asked him to use in the next piece he hooked.
Susan Reyes finished the witch portrait that she started in the Witch Workshop I led at ATHA Biennial in San Antonia this last autumn. She hooked it, she says, to be as creepy as possible. She shared with me that one woman in her guild will not even look at the witch because "her eyes follow me."
Susan found the witch portrait very challenging to hook with a lot of reverse hooking in various areas, experimenting until the area "read well" with the proper highlights and lowlights.
Her experience is very similar to mine. Reverse hooking is second nature for me, and just part of the process. When we are working with value, which needs to be spot on for these types of portraits to work, it means we have to hook something into the mat, observe it, and correct it if it doesn't "read" right, as Susan says. But in the end, the back and forth is worth it. Look at the fantastically creepy portrait that Susan created.