My husband and I live in the northwestern part of Idaho along with 3 1/2 kitties. I say that because half the time, one of them is an outdoor kitty, roaming the woods and during winter is a dedicated house cat. All are tossed-out strays we've rescued to become part of our family.
Our home is on a mountain ridge as the old-timers call this type of terrain. We overlook a huge swath of natural evergreen forest, and a thousand feet below, the rushing Clearwater River. In our surroundings of towering trees, curious wildlife, and dramatic seasons, I find much inspiration. I've always been a dreamer, so it is easy to get lost, just looking out of the window. I study color and form in everything. Nature never makes a mistake in color combinations so every day, I learn more and share with all of you.
My first needlework encounter at age 12, involved a piece of ugly yellow, grey and brown needlepoint. While it lacked appeal, my love of color and creating things with my hands grew as I played with other forms of needlework. I finally fell in love with counted thread, often modifying designs to suit my taste. The first full design (1987) was a going away gift for a friend and became the basis for "Across the Miles" released more than 20 years later.
In late 2009, a friend saw some images of "Creation" on my blog. I'd worked with that design for nearly 11 months, stitching and designing simultaneously as the images occurred to me. It was my first really large design. She urged me to publish it, and from there things moved quickly. I'm so grateful for all those who encouraged and advised me.
While I love the antique look of "Creation", and most antique samplers in general, I find that my tastes are varied. Many types of designs from "Jumpin' Jack Frost" to "Verdant Variations" - have popped out of my mind and from there, become reality. I love the old fashioned sampler style with the quaint motifs, adore all sorts of alphabets, and geometrics are a mathematical delight. Even so, I have to admit that those which remind me of my childhood when I read so many fairy tales, along with memories of my "tom boy" escapades must be top of the list. Most of my designs have some nostalgia attached – and good memories, and once stitched, those last forever.
Recently a stitcher contacted me regarding "Giovanni's Alphabet" design and what she felt was irregular spacing between the rows of twining leaves and alphabets. My reasoning was balance as well as a certain "look" I like in my designs. Some bands appear heavier than others, whether because of size, density of stitching or color and need different spacing than the light, airy ones. She was concerned, too that the large Q was taller by one stitch than the other letters. For me, my artistic eye prefers what I like to call "Planned Asymmetry". That means that I want the whole piece to match that ever-so slightly irregular look of antiquity. In the case of Giovanni Ostaus' 17th century lace alphabet, none of the old alphabets are exact in any way. And antique samplers are never completely symmetrical. To me, a piece that is less rigidly designed has far more character and appears to have been stitched 300 years ago by someone working in the fleeting light of afternoon after chores are done, or flickering candlelight of evening. I like to imagine that young stitcher of so long-ago, working on the letters, flowers and decorative borders, perhaps experimenting and changing the design so it won't be an exact match of a schoolmate's or older sister's. The key is individuality as well as the asymmetrical balance.
I believe we all want to have our work to be unique. Little mistakes or deliberate changes make a design truly ours. If you choose to change a color, add a motif or a different line of text, please do so. Enjoy the stitching and make it uniquely yours!
~~~ Deb
Recently a stitcher contacted me regarding "Giovanni's Alphabet" design and what she felt was irregular spacing between the rows of twining leaves and alphabets. My reasoning was balance as well as a certain "look" I like in my designs. Some bands appear heavier than others, whether because of size, density of stitching or color and need different spacing than the light, airy ones. She was concerned, too that the large Q was taller by one stitch than the other letters. For me, my artistic eye prefers what I like to call "Planned Asymmetry". That means that I want the whole piece to match that ever-so slightly irregular look of antiquity. In the case of Giovanni Ostaus' 17th century lace alphabet, none of the old alphabets are exact in any way. And antique samplers are never completely symmetrical. To me, a piece that is less rigidly designed has far more character and appears to have been stitched 300 years ago by someone working in the fleeting light of afternoon after chores are done, or flickering candlelight of evening. I like to imagine that young stitcher of so long-ago, working on the letters, flowers and decorative borders, perhaps experimenting and changing the design so it won't be an exact match of a schoolmate's or older sister's. The key is individuality as well as the asymmetrical balance.
I believe we all want to have our work to be unique. Little mistakes or deliberate changes make a design truly ours. If you choose to change a color, add a motif or a different line of text, please do so. Enjoy the stitching and make it uniquely yours!
~~~ Deb
