Feb 24
*･゜ﾟ･*:.｡..｡.:*･'(*ﾟ▽ﾟ*)'･*:.｡. .｡.:*･゜ﾟ･*
For the life of me I cannot find the pattern I used for this- this might have been a free versus paid (I trace things back with receipts!).
seen from Netherlands
seen from Hong Kong SAR China
seen from United States
seen from United States
seen from Brazil
seen from Netherlands
seen from Macao SAR China
seen from China
seen from China
seen from Mexico
seen from United States
seen from China
seen from Romania
seen from South Africa
seen from Netherlands
seen from Spain
seen from China
seen from Kazakhstan
seen from Türkiye
seen from China
*･゜ﾟ･*:.｡..｡.:*･'(*ﾟ▽ﾟ*)'･*:.｡. .｡.:*･゜ﾟ･*
For the life of me I cannot find the pattern I used for this- this might have been a free versus paid (I trace things back with receipts!).
A needlebook I made my mother! His arms close via a button + crochet loop, and his tail + head snap together! ฅ^•ﻌ•^ฅ
This piece is actually just a demo of an applique pattern I was experimenting with, but I liked it too much to leave it half baked lol. The inspiration behind it came when a close family member received a cervical spinal injury while in the military, and how awful the process of being medically discharged was. VA disability checks are just what the government decides the rest of your life is worth, but no amount of money brings back what could have been an able, pain-free life. I have much to say about this, but I’ll put that in another post maybe.
The actual pattern pieces were cut from sheerweight fusible interfacing, bonded+cut from unbleached muslin with a 1/4” seam allowance. Each piece is modeled after C1-C7 vertebra as close as I could manage while keeping it flat.
The reason this was an experiment versus doing it outright, is because the vertebra are actually seamed at the “facet joints”- connecting each individual piece by their pseudo superior and inferior articulation processes. By creating one continuous piece, the same pattern could depict both extension and flexion. At the very least, doing this made positioning it way easier.
🦢 my sweet swan pt. 4 (finale)
Once completed, the stretch in the shiny fabric resulted in a beautiful “cushion” effect. Couching gold cording around the opening hid all the securing stitches, and the ones around the swan were done in shiny, red thread just in case. Instead of regular quilting, each white center of the frame’s flowers contained a singular thread tack- like hand tying but you can’t see the knot. Yellow ochre wire ribbon was throughly tacked down in the “return” part of the pleats, occasional tacking along visible edges.
Rowhouse Socks by Bonnie Sennott, knit using madelinetosh Twist Light in Oeste, bits and bobs for the colorwork + duplicate stitching. One of my favorite patterns!!! /ᐠ . ̫.マ
(=ↀωↀ=) heh
Colorwork chart I made of Nyako from Nekojiru-sou to practice double knitting- would also work with intarsia/crochet. I saw it reposted on Pinterest and thought someone here may also like it.
From the garden, corsages, birthday bouquets: red and white roses, rose of sharon, tulips, “big mama” poppy, hydrangea petals from the one year it was accidentally blue, tiger lily, pocahontas lilac, stray carnations, the first year miss kim lilac bloomed, grandma’s iris, baby’s breath- carelessly pressed yet carefully remembered.
This collage was a birthday present for someone I once dated ∠( ᐛ 」∠)＿ The pressed flowers were a part of the collection I posted yesterday. He was captivated by Toronto (Americans, geographically very close to the city regardless), and I admired his sincerity. The page of wands looks through his staff’s sparse greenery and finds something completely unlike the barren landscape at his feet.
COMPLETELY unbeknownst to me while making it was the symbology of the flowers I chose. “My special blue hydrangea would look so beautiful as the page’s halo” and “The pansies really pop on top of such a vibrant sunset!”. I was right, though!