This weekend I went to the Stitch, Hobby & Craft trade show in Birmingham, England. (Otherwise known as Stitches.) This show is a great place to catch up with what’s going on in the industry, talk to old friends and see what’s coming up in the market. I was glad to see people like Leonie Pujol and Amy Shaw and Tim Holtz, Sara from Crafter’s Companion and Leandra from PaperArtsy. I talked to stamp companies, magazine editors and (it seems!) everyone else!

(And although I was there in a professional capacity, I’ve now realized that I need—yes, need—Distress Paints and Distress Markers. And this Great Tape from USA Artquest, plus Paper Artsy’s Metal Card, Cosmic Shimmer and one each of all the new templates out there. In my dreams!)

Trends? Glimmer and shimmer mists, lots of masks and templates and very cool coloring options, from the aforementioned Distress Pens to Pebeo paints used in jewelry. I saw a lot of silhouettes on fabrics, bold citrus colors (a lot of orange and white), and of course UK-themed items in time for the 2012 Olympics.

I also took a seminar on trends from the lovely Stephanie Weightman, who talked about the popularity of flowers and floral imagery this year, the colors blue and turquoise, lace, birds and the grunge look going pretty with light pinks and pastels. I thought she was spot-on with her observations.

The show was great fun, and of course, being in the UK was lovely as always…book shopping (English language books at normal prices, yay!), Marks & Spencer Simply Foods, and of course, rain rain rain. (Plus a little snow.)

England is so civilized this way: You can always count on having a tea kettle and tea in your hotel room.

It’s good to be home, again, too, celebrating the very first birthday of Miss Anna!

Happy Wednesday!

I took this photo at an installation at the SMART Project Space—the exhibition has been replaced with a new one, but the theme here was Utopias, and this portion of the exhibit was a twist on the Andy Warhol notion of 15 minutes of fame.

Happy Friday! I’m off to the Stitches show in Birmingham (UK) tomorrow, can’t wait!

Yes, it’s just roses and chocolates around here, I’m telling you.

Actually, I did want to share a couple of things with you that are love-themed: My mom, who makes beautiful stamped cards, sent Anna her first Valentine. Isn’t it sweet? And in the true spirit of grandmothers, Anna’s Valentine package included this card, plus three new outfits and a book called “Hug, Hug”.

My mom sent this sweet Valentine to Anna. (My mom makes amazing cards!)

The photo doesn’t do it justice, really—the shading on the mice is just perfect, and the hearts above their heads are accented with Diamond Glaze for very subtle dimension. Plus she’s an ace at getting those border punches to line up so perfectly.

Keith and I also got a card:

This is the card my mom made for Keith and me.

Oh—and here is the card I made with Anna, for Keith.

Anna's Valentine for her father. It says "I love you" in Dutch.

For this card, I wanted to make something with Anna (it’s never too early, is my philosophy) but she isn’t even a year old, so it’s not like you can just hand over the scissors. I thought the handprint would be something uniquely Anna, and make a good focal point. To make a card like this, you’ll need:

- Worn Lipstick Distress Ink

- Vellum

- Black and white cardstock; a blank white card

- Silver embroidery thread

- Black pen

- Clear tape

- A child

- Baby wipes out and ready

Just ink up Little One’s hand, press it onto the white cardstock, then lift and clean with a baby wipe right away. This is the only hard part of the card-making process—I said, “Good job!” which prompted Anna to clap for herself, then she made one of those sudden full-body twists only limber little kids can do.

Trim the handprint piece, write your message, and glue it to a piece of vellum. Tear the bottom edge and mat on black cardstock. Wrap with silver embroidery thread, securing the ends at the back with tape. Glue to a white card. Easy!

This weekend I’m headed to a trade show in Birmingham, England: the Craft Hobby & Stitch show, otherwise known as Stitches. It’s not open to the public—like the CHA show in California, this is for retailers and manufacturers and those doing business in the craft industry. I’m looking forward to seeing what’s new in the market, especially in stamps and mixed-media, and to see about any items I can use for the three (yes, three!) online classes I have planned with Creative Workshops for this coming year.

Wishing you a happy Wednesday!

I hope I’m not the only one out there who makes big fat, irreparable mistakes. (I’m specifically talking about mistakes in art—life mistakes are a totally different post!)

Last week I was working on some pendants as examples for my Narrative Jewelry class at Art & Soul in Virginia. Well, since I had the Ice Resin® all mixed and ready to use, I thought I should make as many things as I could, so I put together 5 pairs of earrings as well.

So the resin is mixed and the pendants and earrings are carefully balanced on level surfaces so they’ll cure properly. I pour and poke out the air bubbles, pour and poke and (as always) am totally amazed by the process. I set everything aside and go put together a vegetable lasagna for dinner.

Of course I check the pendants periodically to make sure no new air bubbles have come up. Everything looks really good, and I’m feeling pretty good myself.

Sample pendant for my Narrative Jewelry class—no bubbles, yay!

Another Narrative Jewelry piece—one students can make from the components in their kit.

A third Narrative Jewelry piece. This one is on a Scrabble tile. (I love the word "reverie"!)

Then, just before I have to go pick up Anna from nursery, I think to check the earrings. Now, the earrings are on ear wires, so I came up with a (genius!) way to let them cure: I used a piece of packing foam, and poked the ear wires into the side of the foam so they could rest levelly and not slide around.

Ear wires are poked into packing foam. Genius! (Well, unless you spill...)

Well, they didn’t slide around. They didn’t slide around because they were stuck to the foam. Resin is a glue, you remember, and apparently I hadn’t noticed that some of it had overflowed a couple of the bezels—not the fault of the resin, or the earring, just a mistake that I hadn’t noticed.

Anyway—so the minute I realized some of them were stuck, I had to prise them up off the foam without disrupting the others. Now, the resin sets up after 6 hours, and it had only been 4 hours since I poured them, so they were really sticky but not unmanageable. So in my panic, I grabbed a baby wipe (brilliant!) and started to wipe some of the resin from the back of the earring. You may never have noticed the little fuzzy fibers in a baby wipe before, but my sticky earring did—so then I had fuzzy sticky resin on the back.

A lovely pattern of resin on the back of the earring. This photo is after I frantically tried to remove it. Yes, resin is a glue.

And I had to go pick up Anna.

And the whole time I was trying to remove the resin, keep my eye on the clock, and noticing the UPS guy coming down the sidewalk and thinking please don’t ring my doorbell, I can’t answer it right now, I was kicking myself for not being more careful when I poured the resin into the bezel. Kick, kick, kick.

Okay, so here’s the status at the end:  Five pairs of earrings—with one ruined earring from each pair. Of course they were all different, too. They’re not unwearable…but they are unsaleable. So now I’ve got myself five lovely pairs of earrings. Actually, four. One of the earrings I accidentally touched the front part and basically squished my fingerprint into the resin. That’s when I said a lot of things I’m glad Anna wasn’t around to hear.

It was hard not to feel as though the day was wasted. I mean, that was my main project for the day and I blew it. And then I realized—well, the earrings are definitely not what I wanted, but my pendants did turn out just the way I wanted. And I’ll share the mistakes I made with my class so they can learn without learning the hard way.

Another thing? This pendant, made as a class example, is technically a mistake. I sealed the whole mini collage with Diamond Glaze, but I see that some of it didn’t take around the word, so it looks a bit mottled. And yet, I love it. So some mistakes are good! And others are…just, well, learning experiences.

Another mistake, technically—but I love the imperfections here!

The really ironic thing? My vegetable lasagna—a recipe I’ve been tweaking and refining for ages—turned out perfectly! Sigh.

No wonder my art supplies were frozen! It’s been cold around here—cold enough for people to skate and play ice-hockey on the canals.  I love how the sunset shines through the trees, and how the boats are frozen along the edges of the canal.

Happy Friday!

This is great for keeping us organized as far as what to teach, but it also means (for me, anyway!) that the retreat can suddenly sneak up on you! So this week I’m making up the class kits for my Narrative Jewelry class. We’re going to play with ephemera and words to make customized pendants from Scrabble tiles and bezels, using Ice Resin.

Each little plastic container holds the tiny beads and findings for the pearl-strung necklace students will make. The plastic containers are recycled cracker containers and they're the perfect size for this kind of project!

Note the new tablecloth in my new work area! It’s a piece of oilcloth from Kitsch Kitchen, a very cool store here in Amsterdam. If you like bright, funky colors and prints, this store is for you. I love the cheerful color and how it just wipes clean from any spills…but I sometimes play hide-and-seek with my orange-handled scissors.

So my new studio space is slowly developing, as I’m bringing more things in from the igloo/old studio. You know, I went out there yesterday to get a package of baby wipes that I use to clean stamps with. I picked up the package and thought, “hmmm, this feels strange”…it was FROZEN. Yes, frozen! I’m glad to be inside, and so is my stuff.

Our corner-style baby gate is actually two pieces of Anna's old playpen. It works perfectly for blocking off my studio space.

Well, it’s back to the bead board for me! Happy Wednesday!

Such a good place for an art studio...in theory. (Or if we lived in a warm climate.)

I think I’ve described my bicycle shed art space before, right? Here are the things I like about it—

1) It’s a dedicated room so I can leave projects-in-progress

2) It’s a place where I can paint and glue and get messy and not worry about ruining the   floor

3) It’s big enough to hold me and all my stuff

Those are the good things about it. The downside:

1) It’s not in our apartment, but a separate bicycle shed in the back garden

2) It’s not insulated so it’s cold and damp-ish, even in the summer

3) Since we rent the apartment, we don’t really want to invest a lot of money developing a heating system

I came to the point—particularly this week, when the weather has dipped below freezing—that my bicycle shed/art studio is just not cutting it for me. I really need to a) not wear gloves while working, and b) have a place inside where I can work on projects and still be able to leave them when I need to do other things, like take care of Anna.

So, where inside a 2-bedroom apartment can I make an art studio?

The answer: I took over the kitchen. Well, kind of.

As soon as you come into the apartment, there’s a little nook where we had the kitchen table. There’s also a long-ish, narrow closet there, which was a ridiculous mass of coats, gloves, part of Anna’s stroller we hardly use, and (weirdly) a soccer ball. Plus toys and things Anna has outgrown. And the vacuum cleaner. All in one big glorious tangle.

Thanks to Keith for installing the new coat rack by the front door—now the closet is cleared for my art supplies!

So this weekend we cleaned out that closet, donating some stuff, throwing some stuff out and generally reorganizing things. We moved the kitchen table into the kitchen area and moved my art table into the front area. The closet now holds my rolling racks of stamps and paint and plastic tubs of supplies.

Our newly cleaned-out closet, now holding (some of) my racks of supplies.

A lot of stuff is still out in the bicycle shed—and I’m still glad for the space, for things that need to dry or messy activities, but I feel so much better inside. Warmer, definitely! But it’s amazing how much more work I’m able to sneak into five minutes here and there after Anna’s in bed or during her naps—especially now that the printer is indoors…you wouldn’t believe how much easier it is to just hit “print” and go, rather than trundling outside with the laptop. And it’s so much more pleasant to work on things where it’s warm!

Even the printer is inside now. It's sooo much nicer (and more convenient)!

Did I feel a little strange taking so much room in our small apartment? Yes, kind of. But I’m also inspired by how so many people in this city make use of their small and often oddly-shaped apartments—after all, these spaces are meant for living, so it makes sense that we incorporate who we are and what we do into our space, rather than try to work it in where it’s out of sight.

My new space, yay!

It’s not done yet—as with most of the things in my life, it’s a work in progress! And I still have to remember to scoot over the baby gate when Anna’s up and around. But I love my new space…I’ll keep you updated as I continue to develop it!

Happy Monday!

Just a glimpse of the wonderful stuff Liz Kettle makes!

Today I have the fabulous opportunity to chat with fiber artist Liz Kettle. I’ll get to meet Liz in person at Art & Soul Virginia, where she’s teaching four classes on stitching, needle felting and fiber arts. I’m totally intrigued by her gorgeous stuff, mostly because I don’t do any kind of fiber arts aside from a bit of felting. And Liz has a very cool approach to teaching and art, which makes me want to sign up for all her classes and let her lead me by the hand into the wonderful cozy world of fiber arts. Here’s Liz!

The lovely Liz Kettle!

Sara: You talk a bit on your website about “being brave”…how does this sentiment come about in the workshops you teach? Is being brave about art something you consciously incorporate into your classes?

Liz: Being brave is an important aspect of making art. There is a quote about leaping off the cliff and building your wings on the way down in reference to being brave about creating art. I am not the cliff leaping sort so I like to show students the steps that are carved in the cliff. To create an environment that encourages bravery I break techniques down to the most basic elements; each step is simple so it is easier to take each step. I also share my mistakes and failures as well as my successes to help remove the mystique that talent is something you are born with rather than a skill that is developed. I encourage everyone to leave non-critical mistakes in their work….sometimes the mistake becomes the favorite bit. I believe that it is important to create a safe, nurturing classroom for sharing and taking risks. I encourage students to listen to their intuitive heart whispers and allow their voice to sing rather than create something identical to my work.

Amen, sister!

Sara:  How has your artistic style developed over the years, especially in terms of your teaching?

Liz: My teaching, writing and my art work all feed each other. Sometimes an idea for a class forces me to invent or learn techniques that become a major part of my art. Sometimes a student’s question will spark a stream of ‘what if’s’ that help me push the boundaries of a technique and when I am writing a book the need to break every step down helps me to question why I do things the way I do and is it the best way? When I create class or book samples I try to work in a variety of styles and that influences my work as well. I very rarely used pink in the past but since I know a lot of people like pink I kept making samples that had a bit of pink and before I knew it I was loving pink…especially when it plays with orange! Teaching helps to keep me out of the creative rut. Of course, it also creates an eclectic style but I am a Gemini so that fits.

I want to make this!

Sara: Tell me more about one of your classes specifically–what techniques students will learn, how you developed the project, what you’re excited about.

Liz: It is hard to choose one because they are all like my babies…but, let me tell you more about Stitch Dancing. I first learned this technique from Jan Beaney and Jean Littlejohn, two amazing British artists. There are a lot of things I love about this class but the main one is that each and every student will have an original piece even though they all use the same pattern. You could use the same pattern for 10 years and never create the same piece twice! The other thing I like is that the end product looks so much more complicated than it is. It allows you to be-or at least look like- a stitch genius right away! There are two main techniques: creating thread lace on the machine and hand stitching into the piece. Thread lace seems difficult but once we break it down to the little steps it becomes very simple. I love adding hand embroidery and beading to these embroideries and we get to use my favorite art supply—Thread!

This is "stitch dancing"...gorgeous!

Sara: You talk a little on your blog about fiber arts groups that you belong to. How does the idea of community come into your artistic life…whether that’s a “regular-meeting” kind of group, or a “meet twice-a-year” kind of community like Art & Soul?

Liz: Artistic community is very important to me. People tend to think of me as an extrovert but I am equally an introvert-maybe it is that Gemini thing. I could stay in my house and studio for a week or more and not need to go out. Being with my tribe gets me out to talk to fellow artists, share techniques, troubleshoot problems and brainstorm. We speak the same language and share a love of creating so our meetings are energizing and stimulating. My favorite part is always when we share what we have been working on. I’ll see how a friend used a color combination or a different approach to a technique and those ‘what if’ questions start flowing again. We also hold each other accountable when needed and support each other in life as well as art. Bigger communities like Art and Soul may be a bit less intimate than my small groups but are incredibly energizing and just being with so many artists who love what they do and what they are learning is amazing. To me it is like a glimpse of nirvana.

A last look at some of Liz's lovely work.

Thanks for stopping by, Liz, and answering all my nosy questions! Just wait until I grab you in the hallway at Art & Soul so I can see those beautiful class samples in person!

If you’re interested in learning more about Liz’s workshops at Art & Soul Virginia, check out the class descriptions:

Thursday & Friday, March 1 & 2: Needle Felted Mini Journal – 2 evening workshop

Monday, March 5 (evening): Abstract Landscapes in Fiber

Friday, March 2: Stitch Dancing

Tuesday, March 6: Simply Bodacious Book  

Oh—and don’t forget to comment on this post to be in line for an exciting Art and Soul goodie bag full of mixed-media loveliness, including batik fabric and ephemera, provided by Artistic Artifacts Annex.

A pretty typical card layout for me: Stamp, mat, wrap, glue.

This is a card I made for my niece’s birthday. It’s nice and I like it, but I realized that the layout is one I use so often it’s like a default design! Most of my cards have a stamped focal that’s matted and wrapped with ribbon or embroidery thread, then placed onto a card front that’s decorated with patterned paper. It’s stamp, mat, wrap, glue…and while I like the layout (obviously!) I realized I needed to be a bit more conscious of my design before going on auto-pilot.

A card layout snitched (and adapted) from a design in a magazine.

So here’s another card I made as a thank-you note. Resisting the urge to stamp, layer, wrap and glue, I closed my eyes, opened a recent issue of The Stamper’s Sampler, and put my finger down on a card. Then I copied the card layout…somewhat. The elements that designer had used were very different than what I had on hand, so I had to adapt somewhat but the basic idea is the same.

In the end, I was pleased with both card designs…and while I find myself creeping back to my old standard layout (especially when I’m busy or working quickly) I’ve also got this idea in my head of trying something different—and it could be as simple as opening a magazine page at random, and trying to copy the layout!

Happy Wednesday!

I thought about this as I headed to The New Label Project on Saturday to drop off some new rings, cards and hairclips. I realized how lucky I am that people—and companies—like this exist.

It’s because of people like Guilia at The New Label Project and the folks at the Sunday Market here in Amsterdam that I have a place to sell my things.

And it’s because of people like Glenny at Art & Soul, and Gail at Creative Workshops that we—you and me—have the chance to exchange ideas in ways we might not be able to otherwise. Even more important, these classes and retreats offer a community where we can connect with each other, either in person or online. Imagine how lonely it could be otherwise.

Or without the magazines, like the Craft Stamper, Somerset Studio, Stamp & Scrap Arts  and so many more. We’re truly lucky to have resources where we can learn and get inspired by each other.

The thing is, many of these endeavors are not run by big corporations. Very often it’s one woman who sees a need in the artistic community, and works her tail off to make it come true. Sure, she’s following her own dream—but she makes things possible for so many of us.

Without them, it would be so much harder for people like me…and I’m discovering there are a lot of people like me, who write and design and make things and hope to carve out a place in this community because we are passionate about what we do.

Without them, my job would be amazingly hard, if not impossible. Yes, the people who organize the retreats, the classes, the stores and markets and magazines do get paid—but they’re also the ones taking a risk and putting forth an investment. Take The New Label Project—they have the expense of renting a store, display, staffing, and so on. Or Art & Soul, arranging the hotel facilities, the teachers, the website, the advertising. Or a magazine, hoping that contributors like me 1) meet my deadline, and 2) send them good work.

(Of course, it goes two ways: I have to fulfill my part of the deal by providing the best work I can. That’s my investment in the relationship.)

So I’m super-grateful to them. I mean, I could blog or write or teach all day…but these people, and organizations, mean that I can actually turn this writing, designing, teaching lifestyle into a feasible career. And with their help and input and opportunity, I become a better teacher, writer, designer, photographer and maker of stuff.

I’m guessing in everyone’s life there are people and organizations who give chances–maybe this week is a good time to tell them thank-you…and look for ways we can do the same for others.

Have a good week!