The Tower on the Guest House at the Clay Estate, Greenbank

The Guest House on the Clay Estate in Greenbank (on Whidbey Island) sits high up on a bluff looking west over Saratoga Passage. I did not go up there but my guess is that the Tower room has a panoramic view of the water of Straits and of the main body of Whidbey Island beyond (and from that height probably Camano Island and the Cascades, too!)
We Sketchers met there today to enjoy the landscaping on the beautifully groomed grounds. It only took me moments when I arrived to decide that this view, from the circle drive approach to the building, was the perfect drawing site for me.  It was a "big bite", but I went ahead and dove in anyway. Many thanks to our hosts for the day.

RED HAT BUBBLE BEARS AND A BUDDHA

At the beautiful log home in the deep woods of our hostess, artist and collector of eccentrics, Janet Ross, a kitchen window full of delightful etceteras - including a row of brightly colored bottles, empty now of their soap bubble solutions, but still possessed of jaunty red hats. And a Buddha with a red glass ball. And an orange glass pumpkin. And a flying red heart. JOY on a windowsill.

"End of the Season", Seif's Crab Pots and Floats at Cary's House

With the Sketchers today in Langley at Cary Jurian's WHIDBEY FINE ARTS STUDIO for an opportunity to draw and paint her magnificent dahlia garden, studio building and flowers. The minute I stepped out of the car, though, THIS jumped out at me - Seif's boat, his crab cages and boiling pot, his floats, yellow noodles and ropes, and the lobelia and geraniums in the flower boxes on the deck. Too much stuff, once again, and I only got it narrowed down this much, but I still had a great day focusing on "drawing what I saw"!

Pats House and Gardens - then and now

in August of 2015, the sketchers met to draw member Pat's new house, with its promise of gardens to come. She invited us to image what her plantings might look like. Now here it is, three years later, just before the fourth of July holiday, and her garden area has gone from sparse but full of potential, to bursting with colorful fulfillment. 

Which comes first?

So, the question of "which comes first" (NOT the chicken or the egg) but the INK or the WATERCOLOR, came up again in a group to which I belong.

My answer - "This is exactly what happens (to ME, at least), when I start with ink first. My work leaves the roundhouse as a nice ink sketch and takes off, but when it pulls into the station it has gone way past sketch, roared past painting, and arrives with bell and whistle as a full blown illustration. And, for me, it NEVER fails to do this. If I want a nice, fast, easy, loose sketch, I stick with areas of watercolor FIRST, then ink."

I started this at the Christmas party table at Cynthia's house yesterday. These are a trio of her holiday decorative matroyskas from her tree and her shelves (and, of course, some of her mushrooms). I did all the ink work there, and then finished at home. The nice, loose, fresh one is from last year, started watercolor first.

I rest my case.

While everyone else at Sketchers was exceptionally brave yesterday, sketching Paula's adorably beautiful blue-eyed grandbaby, I chickened out (once again) on tackling a live subject matter, instead going shopping for subject matter in her kitchen. First thing I found was a blue, metal elephant. From there my still life grew into a rosemal painted chopping block, another wooden elephant, some cinnamon sticks and a jar of Garam masala. I'm happy to draw things that don't move. Or giggle. No matter how cute.

Sketching at the Beall Home

Today the Whidbey Island Sketchers were invited to the lovely home and gardens of Jan and Dick Beall, with a breathtaking view of Admiralty Passage and the Olympic Mountains in the distance. The sun was shining, a lovely breeze was blowing off the water, and, of course, the company was outstanding!
I decided to channel both Mike Burroughs and Tommy Kane, though I have neither Tommy's wit, nor Mike's architectural eye. So I deflected with a windsock, some birds and a kitty cat.

BLUE HERON RUST SCULPTURE - on the reflection pond at Whidbey Pies, Greenbank Farm

It was another glorious summer day on Whidbey Island, the kind that reinforces the knowledge that we are blessed to live here. Whidbey Island Sketchers met outside Whidbey Pies at Greenbank Farm, in the sunshine, amid the wonders of nature. While I was serenaded by Redwing Blackbirds, Mourning Doves, Robins, Gulls, Crows, Mallard ducks, bullfrogs and peepers, I sat amongst a long ton of Canada goose poop at the edge of the pond, entranced by this view of the restaurant terrace. Finished a whole sketch on site, and came home with slices of fresh Rhubarb/Apple and Marionberry pie for feet-up/chair-time tonight. Any day that ends with pie is a day well spent. 

"Tahitian Treasure Grandiflora" at Bayview Farm and Gardens

It was a beautiful day for sketching yesterday at the Nursery - sunny, dry, bright. The Laburnum Arch was slightly past its golden peak, but I wasn't in the mood for yellow paint, anyway.  I was in favor of a comfy place to sit to paint.  Luckily there was exactly that spot in among the roses - one of BF&G's brightly colored Adirondack chairs in the shade of a little tree. I plopped bush with gorgeous, electric pink blooms onto a cart and rolled it over by by me, et voila, perfect sketching under a brilliant blue sky. And it gave me a chance to test the luscious Quinacridone pinks, fuschias, corals, reds and rose tones on my paint chip card from Daniel Smith's.

Sketching at PICKLES DELI in Clinton

Not only did we get to sketch inside the newly revamped and remodeled Pickle's Deli in Clinton, but we got to have a terrific lunch, at the same time. My favorite - The Reuben. And a HUGE cup of cream of broccoli soup. All while enjoying the company of the Flying Pickle Girl!

THE TREASURE ISLAND CATS

After what seems like months and months away from sketching, instead of just weeks

, I joined a very small, but dedicated, group of Whidbey Island Sketchers yesterday to visit Treasure Island Antiques and Collectibles in Greenbank. Many delightful "treasures" to see and sketch - furniture, china, dolls, lamps, etc. I was (of course) immediately drawn to this reproduction sabre tooth tiger skull (which was right next to the reproduction "Predator" skull. Ew). I was also drawn immediately to Henry the Wonder Cat, a very sleek and handsome striped fellow, who gave us all a head-bump "hello" greetings, jumped right into my car to explore it, and happily did his "trick" for us - climbing up an 8 foot ladder to the roof of the building so he could survey everyone down in his domain. Treasure Island has many lovely things for sale, but I think I want Henry.

Willapa Acres, Long Beach and Oysterville weekend with the Whidbey Island Sketchers

I traveled (for hours and hours!) down to Long Beach, WA, for a Sketching weekend with Pat Brookes, Phyllis Ray, Faye Castle, Paula Pugh, Jean Mason, Mary Cahoy and Claudia Fuller. It was absolutely fantastic!!! On the plus side - incredible setting in the woods overlooking the bay, cozy cabins with pretty darned good beds and tons of books, the ADORABLE Malinois dog, Nala, outdoor candlelit dining room, a hot Aikido black belt master practicing in the dojo, great food, much laughter, a trip to Oysterville and Long Beach and TWO terrific bakeries, and . . . . wine. On e negative side, no running water in our cabins, so composting honeypot potties on the porch, and what felt like non-stop rain. I had just one heck of a good time. And I did two sketches (even though I was pulled away to other fun things!

"OWL" cabin where I bunked in with roomie Mary Cahoy.

Just some of the eclectic room decor in the "Main Lodge", surrounding the blazing wood stove, and the comfy recliner chairs. And, of course, sleeping, snoring, Nala. 

)

Every Day in September 2016, #19 - Environments and Habitats - URBAN

EDiS – Environments/Habitats - #19 - "Urban"
This is as "Urban" as I ever care to get (except for Keith Urban, but that's another story). Anyway, "Urban" around here is Seattle, and I would rather have my fingers eaten by raccoons than drive down there. So urban, for me, is no stoplight, two cross streets, a general store, a tiny movie theatre, a post office, a couple of good coffee houses, a restaurant or two, no gas station or shopping, but a view of the mountains and some whales. Langley by the Sea, Whidbey Island, Puget Sound in the Salish Sea, Washington state, US of A.

Roadside flower stand at Anderson Farms on Anderson Road outside Langley, in the Highlands, above the Fairgrounds. Dahlias and other flowers, apples, fresh eggs, and other farm goodies, in season. 

Olympic Mist Alpaca Farm

The Whidbey Sketchers were invited to the incredibly beautiful home of Whidbey Island fiber artist Lynn Sheffield to sketch her herd of Alpacas. Despite the HEAT of the afternoon, the furry beasts were sweet and cooperative models. We sat right in the field with them and they quietly chewed their cuds, and did not spit.

 

Sandri's Tuscan Rose Garden

A beautiful, formal rose garden laid out like a color wheel. At each for the four cardinal directions, a wrought iron gate, intricately designed to match its place in the garden. The Sandri's have put so much into this absolutely beautiful and serene spot.  Lovely place, lovely hospitality!! 

Under the old apple tree at Sky Root Farm (with the baby goats)

It will be hard to ever beat the time I had yesterday, sitting in the shade of an ancient apple tree, inside an old chicken pen, with ducks and ducklings muttering about in the grass behind me, a group of chatty hens scratching around next to me, a robust rooster serenading his biddies across the drive, a flittering flock of swallows swooping and swirling overhead and through an open window, and mama goat mewling to her trio of four day old babies in the pen behind the barn. Down the yard apiece - meat goats (unaware of their fate) and pigs (also unaware).  And at the farmhouse, on the porch, a comfy old hound snoring in his bed, and, inside, an escape cat, plotting. 
The peacefulness, the bright blue sky, the soft breeze rustling the leaves and grasses around me - all of it influenced my palette, I am sure. But I am reminded, once again (as I have been hundreds of times in my 70 years), that I could never be a farmer. I could never work that hard to achieve all that peaceful harmony. And, I could never, as Annie the Farm Kid does, name my food.

Fabric Covered Coptic Stitch Sketchbook - Six - "A STITCH IN TIME, FINISHES THE SKETCHBOOK"

"A STITCH IN TIME, FINISHES THE SKETCHBOOK"

****NOTICE!! I just now fixed some "bugs" in the instructions. I hope I cleared them up! If this still isn't clear, or your threads get crossed (in the wrong way), 

please let me know so I can fix it further!!!! 

SO SORRY!!!****

And here we are at the end. Time to finish this up. Retrieve your TWO THREADS and the FOUR NEEDLES attached to them.

Check the tips. You may have one or more needles with a sharp point. You have to be very careful with these because they will split your thread as you are stitching. Pulling your thread gently to the left as you exit a hole and holding it with your free thumb will open the hole and help prevent this. More as we go along. We are going to start by making our first stitches in the BACK cover. So you need to get that. 

Be sure you know exactly where the top of the cover is, and always keep in mind the direction of your arrows.  The holes are numbered 1, 2, 3 and 4, from the TOP to the BOTTOM, or from the LEFT TO RIGHT as you are working sideways. If you have to, make a cheat sheet that shows them in the right order in relation to the cover as you are viewing it. 

Place the open cover FACE DOWN on the edge of your table. Using your first thread, push NEEDLE ONE in through HOLE 1 and then out through HOLE 3, from the inside of the cover to the outside. Pull the threads through and let them hang down evenly over the edge of your table. Repeat this for the second thread, NEEDLE 3 in through HOLE 2, then out through HOLE 4, from the inside to the outside, evening the threads and letting them hang down. 

On the inside of the cover the threads will be crossed. On the outside the colors will alternate. Now close the cover so that the INSIDE BACK is facing UP, the OUTSIDE BACK is face down and the threads are hanging down with THREAD 1/HOLE 1 on your far LEFT. 

Pick up Signature #6 and place it FACE UP on the cover. Be sure the holes are aligned (that the signature is not flipped). Pick up the needle in position one  and put it through HOLE ONE in the Signature. On the INSIDE of the cover, grab the needle, CROSS OVER and exit the needle to the front through HOLE 2. Tighten the thread, pull it slightly to the left and hold it with your thumb. 

This action should clear the hole of the thread and help you not split it.  

Come up through HOLE 2 with the second needle and thread, cross over and exit through HOLE 1. 

Tighten the threads and let them hang down. You should have double threads, one of each color, side by side, laying in the crease. Repeat with NEEDLE 3/THREAD 2, crossing over to HOLE 4 and exiting, and with NEEDLE 4/THREAD 4, crossing over to HOLE 3 and exiting.

When you tighten the threads they should look like this - double, two color on the inside of the Signature, and hanging straight down on the outside in alternating colors. And the signature should be hooked securely to the back cover. 

Now we will begin to make the chain. The first stitch is a "half chain" to secure the stitches. 

 NEEDLE 1/THREAD 1 is hanging down on the far left. Run the needle between the cover and Signature 6, from the right, loop around the thread to the left and exit out on the left side of the thread. Do not tighten the thread yet.

 Come up through the loop and gently tighten the thread, forming a half chain securing stitch. Let the thread hang down. Repeat all the way across.

You may find this process easier if you keep the signature on the table, and let the cover hang down, opening the gap between the two. You can then just drop your need through loop around, pick it up from underneath, and poke it right up and grab it with your fingers.

Place Signature 5 on top of Signature 6 with the T5 mark visible in the upper corner. Repeat NEEDLE 1 into HOLE 1, cross over and come out HOLE 2. NEEDLE 2 into HOLE 2, cross over, come out HOLE 1. Make your chain stitch by dropping your needle down between Signature 6 and Signature 5, cross under thread from right to left, come out the left around the thread and tighten. 

Lay the thread out over the top of signature and continue on across.

Add Signature 4 on top of Signature 5, sew in the same manner - into the signature from the outside, cross over on the inside, come out.  

From now on, each time you finish, COUNT DOWN TWO SIGNATURES, make the chain around, tighten the tension on the thread, add another signature on top. 

***From now on your chain should always hook two signatures together.*** 

Be sure to stitch your chain from the right, around and under the thread and out the left side each time. Always check your holes alignment. Continue until all signatures have been added.

Add the front cover the same way. Count down two signatures, and make the chain. Come back through the cover again, cross over on the inside, come out, then this time count down ONE Signature to end and secure the chain. Loop around and go back into the cover again. Tighten the tension on the threads. 

Open the cover. Tie THREAD ONE to THREAD TWO. Tie THREAD THREE to THREAD FOUR. Clip excess thread so it does not stick out, but leave a little tail. 

 Apply PVA glue with a brush or credit card spreader from edge to edge on one side of the cover. Be sure to cover the loose thread ends. Try to get as close to the edge as you can without getting glue on the outside. Fold the cover closed. Be very sure all the corners are well aligned, the edges match up and all loose threads are tucked in between the two covers. Wipe off any excess glue. 

Wrap the cover all around in plastic - either plastic wrap or some other other wrapper. You want to make sure any glue that is squeezed out during pressing will not get anywhere but onto plastic. Do the same glue and plastic wrap procedure for the back cover. Carefully place the book under weights. A book press is wonderful if you have one. Most of us don't. I use a stack of heavy books (a book press made of books!) Let the whole thing set over night.

 When you open the press in the morning and unwrap your book, it should feel a lot like Christmas! What a gift! I am WAY happier with this second go'round than with the first. Everything worked MUCH better.

The end wraps are better, the chains are tighter and the alignment is almost perfect. I am doing a little Happy Dance !

So, how did yours turn out? Send me some pics to #fabcopsketchbook.

I hope this worked well for you and the instructions were clear enough. Be sure to comment with any questions you have.

This has been a blast, but I haven't even BEGUN my SBK homework yet! Guess I'd better hop to it!!

judi