When I get tired of one art toy, there’s always another art toy with which to play. A few weeks back, I bought a sewing pattern on sale. Time to sew the blouse. I used leftover natural linen/rayon blend and navy linen/rayon blend fabric. I’ve been sewing for more than 50 years so why do I need to look at the directions? Besides, the directions for this blouse were unnecessarily complicated. I could save myself a lot of hand sewing if I used my serger.
I sewed the neckpiece on backwards. I thought I was making a mistake, but kept on going. I used my serger, so ripping out the neckpiece was not easy. I had to cut a new neckpiece and facing. Because I was using leftover fabric, I didn’t have much fabric to spare. I was surprised I had enough bits of navy to make another neckpiece. What did I learn from this? Don’t throw out the fabric until after I complete sewing the garment. I also learned that I like the way linen/rayon fabric drapes.
There are mistakes in the blouse, but it fits well, is comfortable, and I’ll be using this pattern again.
Having had sewing problems, I switched back to clay.
For years, I’ve struggled to make decent lidded pots. I hand build, so the opening on the pot is never perfectly round. Lids only fit one way. It took forever before I could finally insert a proper galley on a lid. I finally gave up and tried a technique I read about somewhere. I rolled a slab, cut out a circle, and put the circle on the top of the pot. Then I rolled a golfball around the center of the circle. This requires gentle rolling. That gave me a depressed lid which fits in any direction. No more struggling to remember how the lid goes on the pot.
I like the texture.
While waiting for the clay circle to set up enough to manipulate, I made a few pinch pots.
I like how the finger prints show up, so I don’t try to smooth them out. I’m going to have to think about how to glaze these pots so the fingerprints are still visible after glazing.
Although I haven’t decided how I’m going to glaze these, I usually put one glaze on the outside of the pot and two different glazes on the inside. I put the second inside glaze on heavily around the top of the pot with the hope that the second glaze will flow down the inside of the pot. Sometimes, it works.
Want to know what a few other artists are doing? Click here.