Courtesy Susan Eastman The work of fiber artist Susan Eastman caught my eye when it popped up in my Pinterest boards. I think what appeals to me is the short length. I like tops that just skim the top of my hips, making my legs look longer! I have loads of linens and lots of hand dyeds that I've done over the years. It's time to put them to use. As many are small pieces, this sort of patch work-y garment could really make great use of their uniqueness. I can also see this style in some woolens for winter with a black turtleneck, sort of sweater style but we're moving into Spring now so linens and cottons are my focus. I've started working out the pattern. I really liked the way Vogue 9305 fit me, but I had to get rid of the big slit and bias drape. I worked on that today and think I may have it. The other change I wanted was a wider, higher neckline, as you see in the two examples above. I've marked one out but I'm not sure where it will land. A muslin is in order to get this all right. A muslin for what's basically a fat tee shirt out of patches? Well, I figure if I can work this out well enough I will make it numerous times so a muslin is definitely in order. I also don't want to waste any of my hand dyeds on a garment I won't wear because the fit is off. The original 9305 has cut on sleeves as do many of the Eastman designs and the pattern also provides an extension for full 3/4 length sleeves as well. I will probably use three fabrics in the sleeves. Here are my fabric choices. Clockwise from 9 o'clock is a Kaufman linen/cotton yard dyed, a silk hand dyed by myself at 12, a 100% home dec linen in turquoise, a 100% cotton batik, and a gorgeous periwinkle Kaufmann yarn dyed. My dominant color, I think, will be the navy but we will see how it all lays out. The batik will be just a tiny accent as it is quite bold. I am debating exactly how to construct this. I really don't want exposed seams inside so a lining is in order but I've been pondering the "stitch and flip" technique. I get the idea, just have to work it all out in my head first so I have no surprises or I may just do a traditional lining. I am keeping this simple, no topstitching of the pieces or neckline, I think. I don't want this to look like a quilt. This shouldn't take long once I get going. ******************************** Also in the queue are some desperately needed window treatments for our guest room. I haven't been fabric searching for that yet, time, and all, but that will happen right after the top. ***************************** Portrait update: It's coming along. It's a project that really requires unbroken extended time once I get into it so it's good to have this simple top to work on in between. The top is a project good for "spurt" work, which I have more of than uninterrupted time work right now. I've worked out my fourth mouth at this point and figured out that the dimension I was seeking for the teeth comes later in the process. I was fraught trying to get the fabric to do what a combination of techniques is really going to do later in the process. Sometimes we learn slowly and stubbornly and that applies here. What's interesting is the feeling I get when working on the tee top by vivid comparison. It was as if I could do it blindfolded, manipulating pattern paper, adjusting for design, arranging limited fabrics to their best advantage, etc. it went quickly,my hands flitting around the cutting table and with fingertip muscle memory just moving unencumbered, great fun. Whereas the portrait really takes a learning mindset, with muscle memory not even existing yet but trying to be imprinted. It can feel awkward. I do like the idea of having these two distinctly different projects going. They enhance each other's process. I should get a lot done this weekend. I think I'll hit the top first!.........................Bunny

Henri Matisse, a French artist (1869-1953) known for his originality and strong use of color, was one of the most important artists of the 20th century and a leader in the modern art movement. An art critic once labeled Matisse and his peers “Fauves” (French for “wild beasts”) after viewing an exhibit of their work - the name "stuck" and this became the movement known as "Fauvism". Shown here is Matisse's collage, "The Sorrow of the King".

Dans mon précédent article sur l’espace artistique, je vous avais proposé une affiche pour la tenue du crayon. Suite à plusieurs échanges avec une collègue blogueuse qui prépare son passage e…

Artist Study: Vincent Van Gogh free worksheet available here

I am a certified art teacher and did years of masters work in art as well as being a studio artist who has sold my work at galleries. At my Montessori school I teach children to draw. Teach it. Part of that teaching is to have children copy my childlike drawings. Yes, copy. We view and copy the shapes that make an image and once they are voiced in how to construct an image they go nuts for drawing on their own having the tools to really look and create. The process is similar to teaching phonics before they can decode any word. Here are some examples of copying to become an artist. None of these children have been in kindergarten yet. My drawing lessons are often given at a dry erase board as children copy me step by step until the image is created. This is highly effective since we talk about placement, shapes and composition as we go. A drawing table set up. Once they have confidence to draw they beg to copy from books or draw any image they see. From book to paper. Drawing table outcome. Not in kindergarten yet! Another good example of how children become artists by copying.

マイルス・ヴァン・レンセラー（Miles Van Rensselaer）による作品。アメリカのアーティスト。インドネシア語を修得し、ジャワ島とバリ島の職人から木彫りの技術を学びました。デラウェア川の廃墟となった大理石の採石場を、青銅の鋳物工場に改造して作品を制作しています。