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Archive for October, 2009

Anne-Marie Littenberg

31 Oct

It’s that time of year – Open Season for Cambria Pines Rug Camp!  It’s a pleasure to beginning announcing the nationally recognized teachers who will make up the CPRCA Teaching Roster in 2010

Although hard copies of the brochure and registration form are in the process of being mailed this weekend, any one can view or print out both by going to my web site and clicking on the Cambria Pines button.  (The new info should be on by the time of this post.) Regular attendees will immediately notice two new faces to this year’s teaching roster.  Going alphabetically, by first name, I’ll introduce one new teacher today:

Anne-Marie Littenberg

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Anne-Marie Littenberg is a self-taught rug hooker who lives in Burlington, Vermont.  She enjoys exploring traditional and non-traditional techniques and materials.

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Her work primarily depicts landscapes in painterly and abstract styles.

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Past President (and also treasurer) of the Green Mountain Rug Hooking Guild, Anne-Marie is also a frequent contributor to Rug Hooking Magazine.

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Her book, Hooked rug Landscapes, was published during the spring of 2009.  Anne-Marie accepts occasional teaching assignments, which have included Sauder Village (where she was the recipient of the coveted Sauder Village and People’s Choice awards) and Hooked in the Mountains at Shelburne Museum in Vermont, where Anne-Marie is a regular recipient of the Viewer’s Choice award.

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At Cambria Pines Rug Camp, Anne-Marie will be teaching her techniques for creating landscape and pictorial hooked rugs.  According to Anne-Marie, a landscape is created whe an artist depicts his or her perception of the outdoor world.

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The view may include building, people or animals.  It may be in the country, or a  view of the a city street.

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Perhaps just the sky and it’s reflection in a pool of water in a natural or unnatural terrain.

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Whatever you wish to do, Anne-Marie will help you learn how to incorporate into rug hooking, painterly techiques regarding composition, color and value, that have been used for centuries in the world of fine art.

 

Wine Country Show and Tell, Part 2

30 Oct

One of the nice things about the end of a workshop is being able to take a close look at what every one worked on.

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I’ve spread out my report on the Wine Country Rug Hookers over two days as every project is worth seeing.  Additionally, I want you to be able to look things over just like these workshop participants are doing.

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When done, this homage to the disappearing CA honeybee (the gray shadow) may just tempt bees to return to CA!  The artist brought this piece with all the hooking and felted applications all done so she could work on several prodded flowers.  The felted sections (center and upper left and lower right) are about 3 inches high, brimming with little balls of color and texture.

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More VERY big prodded flowers for an anniversary gift.  The multicolored flower, just above the number 7 is actually made from a paisley polar fleece material.  It added a different dimension to the wool flowers.

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Done as a traditional proddy, only working from the top side, these undulating sections of color will make a round chair seat when all done.

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This is another interpretation of the free pattern in the proddy book.  I thought her dye job on the Indian corn turned out very nice … as did her flowers.

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This artist made several large flowers on a burlap backing, then turned them into pins or single flowers to add to other things.  For those who do not remember the process:

1.  Prod the flower

2. Secure the petals – I tie them up into a bud like clump with either a piece of wool or a rubber band.

3.  While still on  the frame, but not over the gripper strips,  Squeeze out a bead or two of white craft glue, in concentric rings, completely around the base of the flower.

4.  Use the edge of a plastic credit card to squeegee glue over the backing.  It should spread out to a thin film, completely covering the backing.

5.  Let dry on the frame.

6.  Once dry, cut around the base of the flower.

7.  Hot glue a felt backing to the base.  (If you want to insert a broach pin, do so before attaching the felt.

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I love the various color combinations that each individual artist chooses for their pieces.  While I have watched several people do this design, no two end up being the same.

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This person was not able to show up until Saturday morning.  She did almost all of this 16″ chair seat  - what is shown in the photo – in 2 1/2 hours, using a #10 cut.  Having received a follow up email from her since leaving, I know that in another hour she had the whole thing hooked.   It’s now whipped and on her desk chair.

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This is another version of the same simple design, also using a #10 cut.  Notice all the different plaids and tweeds being used for this project. However, it is the occasional bands of solid green and deep reds that both set off the plaids and unify the piece.

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This original design by LP makes a great canvass for a mixed cluster of any flower the artist wants to prod.  It is a great shot to close out a great workshop with the Wine Country Rug Hookers.  I hope they had as much fun as I did.

Tomorrow’s post kicks off Cambria Pines Rug Camp 2010.  (By the way, our “Bird” artist (above) will teach a mini-class at CPRC 2010.)

 

Wine Country Show and Tell, Part 1

29 Oct

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Just before the end of my 2 day session with the Wine Country Rug Hookers, of Sonoma County, California, we had a Show and Tell so everyone could get a good look at what had been accomplished.  Taking projects off the frame and laying them out in a different place always provides a better perspective for inspection.  Although it will take two days to give this report, I think you will agree that everyone got a lot of good work done in the workshop.

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This artist wanted to accomplish 2 things with the project she brought – prod realistic  flowers and make a 3-D bee on the honey comb which she added to my design.  The flowers were a mix of straightforward examples in my proddy book and other padula type flowers that she enjoyed playing with.

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While she came thinking that we would probably need to do a Waldoboro (sculpted) bee, I suggested we take a different approach and try to make it out of prodded knots.  This was our first attempt … and it’s not located exactly where she wanted it, but it was a good trial run that can be taken out and relocated as the yellow end has not been cut yet.  Here is how it was made:  #10 cut (1/2″) strip of wool. One end was knotted, the tail being clipped off.  A loop was tied around that first knot so that a second knot could be tied over it, thereby increasing the girth of the knot.  Once tied, we used a Rub a Dub to put stripes on the body of the bee.  As we had no “wing” material on hand, I sacrificed  a zip lock carrying bag for my bent hooks, cutting a “wing section” out of the white section on the bag where contents can be “marked.”  I used the same double, rose petal leaf shap, only cutting a V into each petal as to make a double wing.  The tail went through the plastic wings and down into the rug, coming back up a “hole” over from where it went in. After coming up to the top side, a not was tied and slipped down to the rug, to make the head of the bee.  While we did not cut that tail off as it was practice, when put in the right spot, the tail would be cut and set with Fray Check.   The artist will do the final version, probably, with some thing other than plastic bag, but this is the general idea.

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This artist prodded all of her flowers for this Christmas interpretation, at the workshop.  She will not hook any background – just finish the project to make it a wreath.

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This project came hooked, so the artist and I could consult on just the prodded flowers for this project.  Besides the flowers, some knotted buds also went in to add another dimension.  Eventually, she will add a few more blossoms, here and there, so the flowers don’t just create a half moon, halo effect.  The wool was done with a mixture of her wool and my wool.  (As an FYI to one reader who will get a kick out of this … a bit of the wool she chose from my stash was “extra” wool that I originally dyed for a certain prodded interpretation of cherry blossoms at the Jefferson Memorial.)  On day 2, however, this artist worked on another project ….

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… more prodded flowers, but much bigger.  Note the Bakelite button center for the one on the right.

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Chris showed up as an expert on prodded flowers, using her knitted tea cozy with prodded top knot as proof.

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She actually worked on 2 projects for the workshop.  The first was centered on doing the corn and prodded flowers for the fall runner in the proddy book.  This shot shows how far she got when the workshop was over.  It does not show the lovely Japanese ocean wave design she brought to discuss and prepare for a full proddy rug.  However, she has been busy since the workshop …

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… as evidenced by a completed shot of her project.  It looks great!

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Waldoboro centers (top left) look splashy, but they do take a lot of time, particularly when they are big ones like this.  All the other flower spots were colored planned at the workshop.

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This artist is adapting an impressionistic drawing of a Polynesian dancer, using a host of non-traditional fabrics.  Silks, t-shirts, various nylons etc, make for an interesting look.  This photo does not capture the sheen of these fabrics.

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The only prodding being done on this project is the 3-D berries in the basket.  Ordinarily, those would be put in last but, since our time was limited, we did want to do a few during the workshop.  She will have several versions to consult once the next issue of RHM comes out as about 12 or more will be shown in the Blog Hook In Article.

More from the Wine Country Rug Hookers tomorrow.

 

Laura’s Second Floor Studio

28 Oct

Although I have spent a couple of days talking about a Sonoma County side trip I took to visit the house and rugs of Emma Webber, all my comments and photos, so far, have been limited to what was found on the first floor of that address.  Today’s post is about the second floor where Emmas’s daughter, Laura Webber Pierce, has her rug studio.

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Laura is a gifted rug hooker  (and teacher) whose work has received all sorts of recognition.  The portrait of her daughter, shown above her shoulder, should be familiar as it was a Celebration and Reader’s Choice Winner.

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Her work space is filled with all sorts beautiful wool and hooked treasures.

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I am a little partial to this gem from Cambria.

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Then again, I pretty much like anything she does.

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Her work embraces a wide range of styles, from crewel designs …

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… to portraiture.  (If you want to scroll back a couple of days on blog posts, you can compare this rendition of her mother to the real thing.)

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She has a great sense for color …

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… as well as whimsy.

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Be sure to notice that she does a lot of her work with wide cuts.

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It was a pity that there wasn’t time to pull up a chair and enjoy the ambiance of her charming work space. However, there was a workshop to get to.   We will return to that tomorrow.  But, for now:  Thank You Laura for allowing us to take the tour!

 

Deja Vu

27 Oct

Yesterday’s post was about  a visit to the home of  Sonoma County, CA resident, Emma Webber, a rug hooker in her early 90′s who is still going strong.  Besides the shots of the beautiful rugs she makes, I thought it might be interesting for you to learn about an odd, deja vu moment I had while viewing her rugs.

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The story begins with this rug made by Emma from the classic  Double Cross design.  As it was hanging in a hall way, I didn’t really see it until I was moving from one room to another.  At first, I had just a little deja vu moment thinking:  this looks familiar … I wonder why? Then, it hit me …

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Double Cross is the same pattern Miss Weigle used for one of her rugs – the one shown above, which lays on the floor in the second story of my studio.  If you are new to the blog, Miss Weigle gets mentioned here every so often as she is the Illinois lady I used to watch (when I was about 11 or 12)  hook rugs in her home.  (The earliest posts in the  Miss Weigle category tell our story if you are interested.) Although I did not pick up a hook for another 30 some years, she is the reason why I did begin hooking.  So, of course, when I saw Emma’s version, I thought this to be a neat little coincidence.

I must admit, Emma’s approach to rug hooking did remind me more than a little bit of Miss Weigle’s approach, as both used mainly found wool. Although Miss Weigle would have been about 8 years older than Emma, they both were hooking by the 1940′s, if not before.   As we chatted about Miss W, Emma started pointing out other Double Cross rugs and runners that she had made scattered at various locations in the house and outer building.

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I particularly liked this version.  Somewhere in the general discussion about the pattern design,

Emma said:  You know, I got this pattern out of a magazine.

I said: You know …  I think Miss Weigle also got it out of a magazine!

Emma said:  I still have the clipping.

Daughter Laura Pierce said:  I think it’s a shot from  the house of some actors.

I said:  Really?  Is it where I can see it? You see, I still have Miss Weigle’s clipping as well.

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This is a close up of the clipping Emma was talking about.  It is one of several clippings that she put into a framed photo collage.  Over the years, the colors have faded, but the Double Cross hooked rug is still clearly visible on the floor in front of the hearth.  I must confess, when she showed me this photo … it was a much bigger deja vu moment than I had expected.

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You see, I was very familiar with the clipping Miss W had of this rug as it has been featured in a blog post about her idea scrapbook.  Consequently,  Emma’s was immediately recognized as being the very same one.  As Miss W’s clippings went into a closed book, their colors have not faded, as proved by this shot!  Can you agree that it’s worthy as a deja vu moment?  Unfortunately, the photo is glued in her scrap book in such a way that I can’t figure out which publication it came from, or when it appeared.  However, Miss W did pencil in this info directly under the clipping: January 1959 (9 wks – 38″ by 52 1/2″). As that is the exact size of the rug that she made, I am relatively certain that Miss W made my copy in 9 weeks, finishing in 1959.  Therefore, the clipping had to pre-date the rug by at least a while.  On the other margin of my copy is another penciled note:  Dorothy Stickney. Although that name meant absolutely nothing to me, it did to Google.  Dorothy Stickney was an accomplished Broadway actress, most notable for her role of Vinnie in Life with Father, which was written by her husband and co-star Howard Lindsay, who is seated next to her on the arm of the sofa.  Lindsay had several Broadway hits, but Life with Father, was his most successful non-musical one.  As an acting team, they would have been at their hey dey in the mid 40′s … which seems to agree with his tie!

All this leads me to ask … is there anyone else out there that has this clipping? Just for fun, I would like to know where it came from and if it inspired any other great rug hookers.  Who knows, it might be  deja vu all over again!

 

Sonoma Side Trip

26 Oct

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Even though I was in Sonoma County for a workshop on prodded flowers, I did manage to sneak away at one point to make a visit to Emma Webber’s rug studio.

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Emma, who is in her early 90′s, has been hooking and braiding rugs most of her adult life.

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For over 6 decades, using just a hook and no frame, she has managed to make a staggering array of hooked treasures.  Although it was hard to pick, I think this one was my favorite.

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Her sense of color and fun is evident in all of the dozens of rugs (80+ I would guess) I saw displayed in her home.

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These days, most of her time is spent braiding rugs, as it is a bit easier  for her to do than hooking.  Of the 12-15 braided rugs I saw laying around for sale, every single one utilized color combinations that I thought were particularly pleasing on the eye.  Then, there is her technique, which is flawless.

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Of course, I was there to see the hooked rugs.  I can’t make up my mind if this little panther rug is my second favorite of her rugs … or my first choice … it would be difficult for me to pick between this one and the first one shown on the blog.  I keep going back and forth between the two.

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In every room and on every wall of this house is something worth looking at.

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In talking with her daughter (Laura Webber Pierce, another of my favorite rug hookers) I learned that Emma has always made almost all of her rugs out of found and scrap wool.  While this one does look like it is made from found wool -

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Most of her rugs give the impression of an artist that, one would expect, did a  lot of dyeing to get the wonderful colors that she features in so many of her pieces.  I am just sorry that I did not have the time to shoot every single rug while visiting with her, or the space in today’s blog to print all of the rugs I did shoot.  Hopefully, however, there are enough here to give you a sense of  the large body of work she is busy producing.

 
 

Day One, Part Two, Sonoma County

25 Oct

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It always surprises me when someone comes to a workshop working on one of my free patterns from a book.  While I know they are out there, I sometimes forget about them until they show up.  However, I must confess, that it does please me to run into them.  This artist even dyed, as per the Prodded Book instructions, her own Indian corn.  I thought she did a great job.

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I did know that this one was coming as I was asked to dye the corn.  Of course, both Prodded Fall Runner artists had hooked the flat parts before coming to the workshop.  That’s always the best plan as it allows people to concentrate on the 3-D aspects at the workshop.

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Many artists used session #1 to play around with various proddy applications.

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Here is another prodded wreath.

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Actually, as you can see, there were several of these. But, even so, each was stamped by the individual preferences of the artist.

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This dancing lady, when done, will have prodded hair.  She also has several different kinds of fiber in her composition – t-shirt material, silk and wool, to name a few.

With this post, I have shown everything that was worked on the first day at the Wine Country Rug Hooker’s workshop in Sonoma county.  It does not take into account additional projects that were started on day two.   It was a productive bunch and I know you are going to be surprised with the progress they made on day #2.

More tomorrow from Wine Country.

 

Hooking In Sonoma County

24 Oct

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It is a hard job … waking up in Sonoma County, CA, but I am so committed to our art form that I am willing to do it.  As you can see, the ride to my workshop destination, yesterday morning, was what you could call visually stimulating.  It’s not too often when the scenery is brighter than my wool, but I think that was the case Friday morning.

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Here is what 75 pounds of wool looks like.

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This would be the other 5 pounds.  Since I have too many photos from day one for a single blog report, I am going to break my initial report into 2 posts.  While the workshop I was asked to do for the Wine Country Rug Hookers was entitled, Prodded Flowers, not everyone did flowers or even prodding.  However, most people did manage to do something fairly close.

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This is my standard prodded pillow reinterpreted as a Christmas Wreath.  Although I did send this pattern ahead so that the leaves could be hooked, all the flowers were prodded on Friday.

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This project also came hooked so that we could concentrate on installing some blossoms and buds.

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This is another re-thinking of one of my designs, also another first as it has a honey comb in the middle.

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Not my design … but one with which I am familiar!  Blog readers need to get ready as the report on our Internet Blog Hook In (based on this pattern) will appear in the next issue of Rug Hooking Magazine.

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You can see a few prodded flowers used as embellishments on this multi medium piece.  However, a partial shot just does not do it justice.  You’ll agree when you see a full version in the last post from Sonoma County.

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One student decided to do a top side, fully prodded, chair seat.

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Another one chose to work on a wide cut version.

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Here is a beautiful original design (the flat part was hooked ahead of time) that will contain a lot of lovely flowers as a setting for  two birds.  I think you will agree, even with just half of the projects being shown, that the first day got off to a good start.  Of course, even though the session ended at 4 PM, my day in Sonoma County was not over.

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After class, my hostess, Julie Neumiller, gave me a tour of her family’s Winery – Seghesio Family Vineyards.

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Founded by her great grandparents, Eduardo and Angela Seghesio, in 1902, the winery remains a family business.

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There is just something beautiful about anything that is made by hand, with love and care.  This was my favorite part of the tour.  (For more information about this family business see seghesio.com

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We lingered on the grounds for a while, enjoying the views as long as the light lasted and then, went to a great local restaurant to sustain ourselves so that we would have the strength to get up and hook on Saturday morning.

 

Getting To Sonoma County, CA

23 Oct

Airplanes are  a wonderful thing.  Without them, I could not buzz up to Sonoma County for a 2 day workshop and still  get back in time to preach on Sunday!  In fact, I spent much more time waiting in airports yesterday than I did flying the one hour and 15 min. flight to San Francisco.  Once there, I was met by Laura Pierce who loaded me and my 80 pounds of wool into her car for the  hour+ drive north to Sonoma County.

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Although there had been a lot of fog earlier in the day, by the time we crossed the Golden Gate bridge, most of the haze was gone.

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The view from the Sausalito side was stunning.  And, yes, the water was that blue.  Since I had not seen Laura since Cambria, we had a lot of catching up to do as we drove through the beautiful fall landscape.  We did make one rug related stop … but I will save that for its own post.

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Once in Sonoma County, Laura passed me off to Brigitta Phy and Julie Neumiller who were there to help me get set up at the workshop site.  We did manage to make a stop at Brigitta’s house so I could see her new rug hooking/dye studio.  (Isn’t that a great old stove?)   Also notice the framed photo just above her right shoulder … I am sure it helps to have the “presence” of her Grandmother, Jane Olson, looking down on every batch she dyes.  Her studio also boasts a large wool storage area and big work table.

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While at Brigitta’s I got to see something that I have only heard about for years – Jane Olson’s original rug camp traveling van.  If  you have ever taken a class with Jane, you’re bound to have heard stories about this van and her many trips back and forth across the US with husband Bert and sister Norma.  I felt, when looking at it, as though I was at a rug hooking Holy Land site.

Tomorrow – The Wine Country Rug Hookers.

 

80 Pounds of Wool

22 Oct

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As I post this morning, final preparations are being made for a quick trip to Northern CA.  Later today I will fly to San Francisco, where I will be picked up, then driven to Santa Rosa, CA, to set up tonight for a Friday-Saturday Proddy Workshop in Wine Country.  You can tell from this photo where my priorities lie!  Why take extra clothes when you can take wool?  I have been looking forward to this trip as several members of the Wine Country group are good friends, as well as good fiber artists.  Additionally, it’s always good to make new friends and I expect to do so on this trip.  Since the camera and computer will be in my carry on, I should be reporting tomorrow from Wine Country.