Klee sketchbook cover

I finished my painted/stitched version of Klee’s painting ‘Clarification’, which is part of the cover for a sketchbook. I’m fascinated by that solid line across the lower third, which also features in the original painting, and somehow ties the whole thing together.

Paint and stitch based on a section of Klee’s ‘Clarification’ (1932)

I decided though that this is going to be the back cover, not the front, so there has been a bit of cutting and splicing.

Moving the front to the back

I’ve kept the seam on the right side because I’m going to cover the spine area later so the raw edges will be covered. The sketchbook is a 12” square spiral bound one, so I didn’t want the raw edges on the back interfering with the wire spiral, and I didn’t want the bulk of a turned seam.

So now I’ve started on the front cover, which is based on Klee’s ‘Small Picture of Fir Trees‘ (1922). I did a sketchy collage just to understand the colours and shapes and used a view finder to isolate a square area.

Klee’s ‘Small Picture of Fir Trees’ 1922

I’m trying this one in layered sheers and semi-sheers, with a base of hand-dyed cotton organdie and bits of silk organza over the top. You can just see the outline drawing underneath.

Sketchbook cover in progress

I really like layering sheer fabrics. I used to use them a lot; less so these days but it’s maybe something I might revisit. I like the way they are solid and transparent at the same time.

Pile of hand-dyed sheer fabrics – organdie, organza and chiffon, with some net and vintage sheer scarves
Building up the layers

The best bit is putting in some tacking stitches to get rid of the pins, which will be my next step. Then you can see much more clearly what you’re dealing with. Less hazardous too. I don’t know why, but I am always surprised by how sharp pins are. Makes me feel like I’m maybe not the sharpest pin in the box.

Immersion

One of the perks that comes with working at a university is free access to an academic library, and last week I found this:

Paul Klee Notebooks Vol. 1

You can read it free online, actually, but I prefer books to be on paper. I like leafing through pages and don’t like scrolling up and down a screen. It was good exercise carrying it home too, so twice the benefit.

I’ve had a completely free weekend so have been immersing myself in Klee and his life and works.

Notes

Having started to read his words, I feel I am beginning to understand him and his work better. Weirdly, I understand myself better too. I periodically berate myself for not drawing more often (what kind of artist doesn’t draw?) but then I read Klee and feel more validated about valuing process over object and trying to explore the intangible. I admire people who can draw with photographic realism but learning how to do that doesn’t really interest me. I don’t want to draw what I can already see. Klee famously said, ‘art does not reproduce the visible but makes visible’. And I guess I draw with a needle and thread instead of a pencil.

Klee’s writing is, as you would expect, pretty dense, so in between nibbles of philosophical art theory I’m working on a sketchbook cover. I accidentally deleted the photo I took of it in progress, so this is just a screenshot:

Watercolour on loom state cotton, inspired by Klee’s painting ‘Clarification’ (1932)

It’s just regular watercolour on fabric. It won’t ever be washed so it doesn’t matter about fixing the colour. The fabric I’m using is loom state cotton, and it’s a really good surface for sewing on. It’s not quite as thick as furnishing fabric, but a bit more substantial than heavyweight calico, and a nicer weave than cotton canvas – it’s quite a fine twill weave, similar to impossibly lightweight denim, if there could be such a thing. I’ve started to add rows of running stitch in threads similar to one strand of DMC floss.

The colour seems to be fading slightly already, but that’s ok. I thought it was a bit too bright to begin with anyway. You can see how I’ve had to draw lines on it to keep me on the straight and narrow and not go wandering off on a tangent. I’m not keen on the way the yellow square has ended up being more or less right in the middle, but it’s never going to end up on show anywhere so I can overlook that I think.

Front cover of sketchbook in progress

To dye for

I had a few days off from the day job this week so at last had time to dye some fabric and thread. This has been on the to-do list for months.

Smorgasbord

Some for me, and some for you, eventually. There will be a shop update when I can get round to sorting these into groups.

Delicious!

While I was waiting for everything to dry, I made a cover for the little notebook I use for dye notes. I made the book many years ago, when I first started having a go at dyeing. I don’t record everything in it, as most of my dyeing is quite intuitive so colours are often not repeatable. There are other dyers out there producing set lines but I prefer the more individual approach.

Colour notes from 2007, handmade notebook A6 size
A6 notebook cover, fabric from Hipposinhats
Hand-dyed silk and cotton threads in action

I really like the colour test card. Accidental abstract art in action, I’m calling it.

Dye splodge colour test

Back to sorting and labelling threads…

Skeins of silk and cotton thread

Sampler book cover

In the interests of keeping busy, I made a start on the cover for my sampler book.

birdie in his natural habitat

I’ve spent a lot of time thinking about how to tackle the cover. I considered various kinds of needlepoint, cross stitch (really didn’t want to do any more of that) and a variety of seams. In the end I went for my usual style of book cover, which is layers of strips laid on a foundation fabric. I used modern, vintage and antique silk and cotton fabrics, mostly hand-dyed.

cover in progress

I really like old lace and ribbon, but I don’t tend to use it much. I thought this was probably a good place for it.

layered fabrics, lace and ribbon with hand stitch

A couple of weeks ago I acquired a few old wooden bobbin reels – more on that later, there are plans afoot – all of which came with very old dusty thread still in place. Most of the thread was unusable, very brittle from age and light damage. But on two of the bobbins, once the outer layer of damaged thread was removed, the rest of it appears to be sound. I’ve dyed some, and have road-tested the finer of the threads on this cover. It breaks quite easily so wouldn’t be any good for sewing seams, but it seems fine for surface decoration.

vintage cotton thread from an old mill bobbin, hand-dyed

As with the sampler book itself, I found myself wondering whether Ellen Mahon would like the cover I’ve made. I wanted to make it pretty for her.

Hand-dyed vintage viscose ribbon, very soft and silky

I wondered about whether I should label the cover with words, whether I should stitch the words ‘sampler book’ somewhere on it. I decided not, in the end. For one thing I’m not very good at stitching lettering, and for another thing I didn’t think it needed words. I really like the way stitching conveys its own meaning without the need for words as well. I always think hand-stitching is more like writing than drawing. I often find myself recognising artists’ work by their stitching the same way I might recognise the handwriting on an envelope.

Sampler book with cover
Back cover

I hope Ellen would approve.

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