A big thank-you to everyone who braved the snows to come visit us at the No Coast Craft-o-Rama last weekend. It was a lot of fun and exhausting too! I had laryngitis by Saturday night, but it was worth it to get to talk to so many great people.

If you’re interested in purchasing a pulp fiction notebook or anything else, please contact me at Sassy (at) Sassygoat.com. We also have a few lamps and purses available and Sweetiebabe is planning to make more clocks. There’s no shortage of ideas here at the craft sweatshop….

I wanted to recognize a few folks I met at the Craft-o-Rama —

Inspiration abounds…

Wa-hoo! We got accepted into the 2007 No Coast Craft-o-Rama! Our theme is “Vintage Met With Irreverence”. SweetieBabe will be joining me this year with her awesome custom lamps that she has built from various vintage items. I do the custom shades by hand from art paper. But that’s not all… we’ve both got ideas like crazy so look for clocks from us as well as some of our favorite creations from the past.

Here are some custom lamps we did earlier this year:

Here’s a purse I made for the Craftstravaganza . Coincidentally, it’s made from the same type of vintage child’s record album as used in the clocks made by Hezzamade for the show… how fun to see what different people will be inspired to make from the same vintage item!

I call this style my “pillbox purse”.

I’m in! Welcome, anyone who got here via Craftstravaganza!!!

My past blog entries are a little out-of-date — 2006 was a helluva year — but I’m back, and blogging again, and making stuff like crazy. SweetyBabe is collaborating with me this time, and she is the maker of the fine billiard ball lamps pictured on the Craftstravaganza vendors page. More of her stuff is produced with tools whereas mine has more to do with machines… as in, my sewing machine.

It’s a zillion below zero today here in Minnesota, so I’m indoors producing in the craft sweatshop. Today I finished a round purse made of oilcloth and festooned with vintage buttons, but you probably won’t see it at the show because oilcloth is really, really slippery and it was tough to sew those curves, and even tougher to take the pinking shears to 4 layers of it. Youch… weird blister thing on my finger now…. But I like the concept, and will probably be producing something similar (but less time-consuming and blister-thing-producing). The seams got pretty wonky on the purse so it’s not high-enough quality that I’d be proud to sell it, but it’s enough that I will probably use it myself. It’s really cute if you don’t look too closely! Pics soon.

So, the No Coast Craft-o-Rama was a huge success! I don’t think anyone ever dreamed it would be so huge — and so crowded. I felt bad for my friends who had come by to support me, only to have to wait for a parking spot and fight the crowds. There was very little room to move, and it never let up for the entire 7 hours of the show. I brought some knitting along to keep me occupied. Hah! I didn’t even get a chance to sit down or eat lunch, much less do anything except talk to people. And a chance to walk around would have been nice. At the end of the day I did a quick tour of the place, just to see what others had. The quality was really high — I was impressed and inspired.

I did pretty well, and sold about half of the stuff I’d brought (of course wishing I’d had time to make more, more more more more). I also got orders for 2 bags that aren’t even made yet.

The best news was that it was so popular, the rumors at the end of the day were that another might be held in June. I hope so, and I hope it’s at a bigger place!

My, my. Time has flown. Why does my life always sound like a stress test? Is that how life is for most people? Since my last post, I’ve started a new job (leaving the university where I’ve worked for the past 14 years). That has been a very positive change, apart from severely limiting my web surfing time. Sweetiebabe’s mom also died during that time, on October 24th. We had a beautiful memorial service for her in California earlier this month.

But the all-consuming activity in my life right now is preparing for the No Coast Craft-o-Rama. I’ve been working on flower pins made from vintage buttons & kimono silk, and on spa slippers made from vintage fabrics. Photos to come….

According to the Japan External Trade Organization, Zakka is
“a term which encompasses household goods, daily necessities and sundries” (via 9flights).

Red current has some links to zakka sites, and one of those led me to this page of links to beautiful and inspiring things.

(Yes, it’s Friday afternoon before a 3-day weekend, and I’m stuck at work. If I can’t be doing something artistic, you’re damn right I’m going to be thinking about it instead!)

Now that I need to go into full production mode for the Craft-o-rama, I’ve been researching good ways to do image transfers onto fabric. I’ve got some great 1937 Liberty magazines (some of the covers can be seen here) and I would love to use the graphics on purses or totes.

I’ve been looking for a method that is fairly inexpensive, fairly non-toxic, and will look and feel as though it is part of the final fabric (as opposed to looking like a rubbery iron-on). Washability would be a plus, though it’s of a lower priority since the final product will probably have plenty of other elements that are not washable. I want to do color images, and I have an inkjet printer.

Thimble discusses some techniques here and here, and also linked to this page of tutorials. So, after reading through it all, and with my brain spinning and fizzing, off I went to shop. At my local Joann I found yet another method to try in addition to the ones listed. So… here is my attempt to compare, contrast, and document the various methods.

Step 1: Ready the materials. I got some plain white cotton fabric and laundered it. Also choose an image. For me, this was pretty easy — I had the Liberty magazine cover I wanted to use.

The not-so-easy part was cropping it down using Photoshop, so Step 1 also includes swearing at the computer, swearing at Sorcha when she tries to help, and then swearing at the color printer when it refuses to print nicely. Step 1h involves removing the ink jet cartridge a few times and cleaning it. 1q is to very nearly give up, weigh the options of a good stiff drink vs. driving to local copy center, then ultimately doing neither and switching from the big fancy printer/copier to a smaller cheesier printer and finally getting decent results. When printed, the image is about 3″ across:

The Methods: (drumroll, please)

1) Blender pen. Despite knowing my way around an art store fairly well, I had no idea what one of these was. I asked the nice person at my local art place, and she pointed me toward a Prismacolor blender pen in with the fancy markers. I purchased it for $1.98. Thimble’s tutorial mentioned copies or laser printouts of the image, and this tutorial mentions photocopies, so part of this experiment was to find out whether a color inkjet printout would work.

Results: Not even enough of an image to be able to photograph. I felt like I was burnishing the hell out of the thing, but only got some faint streaks. I tried with text printed in black ink, with the same results. Then I fished various photocopies and other papers out of recycling and tried that. Nothin’. Maybe it’s my blender pen brand?

Verdict: Well, a tiny investment anyhow, and I’ll experiment with using the blender pen for its intended purpose instead. If anyone ever enlightens me as to its intended purpose, that is. Oh, and the smell is chemical-y but not so bad. Then again, the cat took a while before she regained consciousness (not entirely a bad thing).

2) PrintWorks brand t-shirt transfers. I purchased these at Target for $7.99 for 6 sheets. According to the package, there’s a “premium” version for best photo reproduction, but I didn’t see those at the store. Also according to the package, the “new transfer technology” gives a “softer, natural feel”. We shall find out….

Results: This was a fairly lengthy & involved process as the ink had to dry for half an hour before ironing the image to the fabric. Then the ironing had to be done for two minutes on a hard surface — I felt as though I was burnishing with the iron.

Verdict: Results were vivid, but I wouldn’t exactly call it “soft” or “natural” — definitely rubbery.

3) Pellon Wonder Under Regular Weight Paper-backed Fusible Web. I found this at Joann for $4.99 for 2 yards (17″ wide). The package says the resulting fabric maintains a soft hand after fusing. The intended use is to bond two fabrics together, as an applique. However, this tutorial says you can just feed it through your inkjet printer and print directly on to it, and that the resulting fabric feels like suede. (It amazes me what people are willing to feed through their printers!)

Note: I also found another brand of what appears to be similar stuff — HTCW Trans-Web, “The Easiest Way to Transform Ordinary Fabrics into Iron-On Fabrics.” It was $4.99 for less than half the size of the Wonder Under — 16″ by 36″. According to the labels, both are 100% polyamide on a paper backing. Since they appear to be pretty much the same, I didn’t test the HTCW in the Great Image Transfer Experiment.

Results: Since it comes in a very big sheet, I had to verrry carefully trim a piece to 8.5 x 11. Despite some threatening noises from my printer, it pulled through just fine. The image original looked a lot more faded than the PrintWorks transfer. I managed to smudge it a little despite my efforts not to touch it until it had a chance to dry. Of course, a certain someone couldn’t resist the temptation to see if it was dry yet…

Since the tutorial didn’t give much information in the way of the actual ironing-on process, I followed the package directions and winged it when they didn’t apply (i.e., the package directions were to adhere 2 fabric layers). First I put the image side down on the fabric, then covered it all with another cloth, misted that with water, and ironed. Once I tried to remove the paper backing, it stuck fairly firmly to the image and a lot of the color seemed to peel away with the paper.

So I also tried an experiment — since the sticky stuff was easy to separate from the backing prior to ironing, I did another try where I did one layer as above and then added a second layer by peeling off the paper, carefully lining up the 2nd image over the first, covering the whole thing with a layer of parchment paper, and then ironing. This resulted in softer edges but more vivid colors. In the next photo, you can see the doubled-up image on the left, the single image in the middle, and the PrintWorks iron-on on the right.

Verdict: With the resulting image being semi-transparent and ethereal-looking, I can see using this technique for layering or fabric collage, or maybe for other uses where a faded image is desired. Also, rather than feeling like leather, I think the final product just feels like there’s old glue stuck to the fabric, and it’s got a bit of a shine too.

4) Blumenthal Craft Crafter’s Images PhotoFabric: Paper-backed fabric for use with inkjet printers. Yes, this is actually fabric you feed right through your printer, much like in this freezer paper technique. I bought it at Joann for $12.99 for a package of 6 sheets. Joann carried 3 different weights/fabrics: cotton poplin, canvas, or silk. After much debate, I chose the poplin and canvas but not the silk, due to the high price and my intended use in totes/purses.

Results: This fed through my printer just fine, and the colors were vivid. After printing, you let the image dry, iron it, and then peel off the paper backing. The paper came off easily from the canvas, but was pretty stubborn on the poplin and I had to peel little bits of it off. The directions then say to rinse the fabric “until the water runs clear”. The rinse helped get the last bits of paper off the poplin, but the water was clear from the start. I thought I might see some inks running, and it did look as though my fingers got a little ink on them, but the image on the fabric seemed fine. Finally I ironed the damp fabrics until they were dry. As an experiment, I put some white cotton over the damp image and ironed it to see if any ink came off, but none did.

The fabrics are unhemmed, of course, so there were some stray threads even when I first pulled the fabric out of the package. I pulled these off so they wouldn’t wind up in the printer.

Verdict: This is the clear winner — the only method I tried where the fabric surface wasn’t altered by the technique. The canvas (pictured below on the left) was a little too coarse for this size image, but the poplin (right) is perfect. And it required less fussing around than the iron-on transfer.

It’s essentially the same process as the freezer paper tutorial, but without messing around with fusing the freezer paper to the fabric. On the other hand, using freezer paper would be much less expensive and would allow you to use whatever fabric you wanted, instead of being limited to the kinds offered. I did happen to pick up some freezer paper on my shopping trip today… but that will have to wait for the Great Image Transfer Experiment Part Deux!

If you’re interested, more photos of the results can be seen here.

Nancy Drew book purse 2

Originally uploaded by Sassygoat.

I got accepted to the No Coast Craft-o-Rama! Click on the purse picture to see other items I submitted.

Today I met Trish, the owner of Crafty Planet in Minneapolis, one of the sponsors of the Craft-o-Rama. I learned from her that there were about 80 applicants to fill 50 spots in the show. Woo-HOOOO!!!!

I was talking with my friend Splinter this morning about an event he attended at the Walker yesterday. It was a discussion with the artist Chuck Close, who I’d learned about once before when I came across this website. It had made enough of an impression on me that I’d bookmarked it and remembered the artist’s name, though apparently not enough to get me to the event yesterday. Instead I spent much of the day messing around with eBay listings. In my trips to various estate sales, I’ve become interested in vintage patterns (and, as a result, the owner of quite a quantity of them). I’ve begun selling off the non-knitting-related ones, but as I was looking through the ones on filet crochet I saw a bunch of charts that sparked ideas for me. One book from 1911 has a fantastic assortment of charts for animals — from peacocks to bumblebees to monkeys. From reading through the books I learned that filet crochet is basically done as squares to form a grid or mesh — some squares are left open, while others are filled to form a design. Thus the charts consist of black and white squares, like pixels. It occurred to me that they would make great beadwork, cross stitch, or pixel art charts, or pretty much anything that uses a 1:1 aspect ratio. So now I’m brewing up some ideas for beaded pins based on the designs… and meanwhile I’m marketing the patterns on eBay as being adaptable to these various art forms.

So, meanwhile, back at this morning’s conversation with Splinter — he described how, while it’s a fairly common look in this digitized age to have art or digital collages composed of smaller images, Chuck Close was doing it beginning in the 1970’s. (It occurred to me just now that pointillism is along these lines, too, but Close’s work tends to be comprised of tiny complex units rather than discrete, monochromatic ones). And during the lecture, he learned that Close was highly influenced by… watching his grandmother crochet.

I haven’t spent much time looking at ReadyMade magazine, but maybe I should. I surfed over to their website today and was pretty inspired by the links on the ReadyMade: Re-Source page. From there I surfed to sources for things like vinyl tape and felt. (Because who can resist vinyl tape that has “good dead stretch”?) Plus their recipes sound damn fine….

Sorcha sez: THAT STINKIN’ BOY SCOUT GETS NATIONAL COVERAGE AND HE WAS ONLY MISSING FOR FOUR DAYS! I WAS GONE FOR 3 WEEKS AND I GET NOTHING! AND HE’S NOT EVEN CUTE LIKE ME!

Now that Sorcha’s back, I suddenly feel creative again. I did absolutely no knitting or anything else creative for the three weeks she was gone. The day after we found her, I had an urge to knit. A return to normalcy, perhaps, or she really is my muse. I don’t know about difficult times being fodder for creativity — I think that’s a load of crap. My brain shuts down when I’m depressed.

My colleague and I want to have a table at the No Coast Craft-o-Rama this winter. I have sooo many ideas for things to make. It’s always been strange to me that the typical self-help-type book or article has been about how to enhance your creativity or spark new ideas. That’s never been a problem for me — instead it’s finding the time and/or money to make all the things that are just ideas in my head. Here are a few:

-Aprons
-Totes/carriers/pouches/knitting needle holders featuring some of the images from my vintage knitting magazine collection
-bracelets featuring the above
-flowers in vintage kimono fabrics with vintage button centers
-felted coin purses or luggage tags
-wrist warmers

When I’m thinking about producing something to sell, there’s an interesting tension between making things that I really enjoy but are time-intensive (beaded items, knitted/felted items) and making things for the sake of getting enough stuff together so that the table doesn’t look empty, while balancing appeal and expense… I know this is the classic struggle for someone trying to make a living from their art, and now I get to experience it myself. Lucky me, I’m an artist!

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You probably got to this site via Naive Knitting or her studio confidante project. If not, be sure to check it out; it’s a beautiful slide show of various studios and our companion objects (or in some cases, creatures) within them. My confidante is #6 in the slide show. Also check out the artists’ comments about their confidantes.

I went to “Arts Off Raymond” this weekend, which is an art crawl in the midway neighborhood of St. Paul. I left feeling very inspired by the fun work being done by local artists. Here are a couple of favorites: