Category Archives: Textiles and Drawings

Gearing Up for Next Year

Now that December is underway, it’s time to take stock of the past year, reevaluate goals, and make a game plan for 2019.

This next piece is going to be a bit larger than the past several. The area within the crosses is 9 x 12 inches. While I was working on my last piece, I kept thinking about octopi and their interesting camouflage. This fellow should be a worthy candidate / subject to hide in a field of shibori pattern, don’t you think?

Last week I attended a webinar for creatives offered by Cory Huff of The Abundant Artist and productivity coach Charlie Gilkey. They packed a lot of helpful info into 90 minutes and I’m already feeling the impact of their suggestions, especially as the holiday season and its accompanying extra to-do’s begin to take hold.
Granted, there was so much to absorb that I’m still sifting through my notes, but I’d like to share two take-aways that I think are particularly noteworthy.

First, stick to a 5-project rule at any given time. Realistically, one just can’t juggle any more than five projects at once, and it is probably more achievable to concentrate on only three.

Secondly, separate your workdays into time blocks:

Focus blocks: 90-120 minutes for deep, creative work (keeping in mind that sometimes that includes staring out the window, taking a walk, or looking at work in progress as you figure out your next move). It was reassuring to hear them say that most of us can only expect to put in 4-6 hours of such focused work a day. I am mentally exhausted at the end of 4 or more hours of active drawing and/or stitching.
Social / Service blocks: 90-120 minutes for meetings, volunteer activities, visiting galleries, etc.
Administrative blocks: 30-60 minutes for attending to email, computer work, phone calls and other “backstage” chores (Facebook, Instagram, & Twitter don’t count).
Finally, and very importantly, Recovery blocks: for recharging — exercise, meals, reading, time with family and friends — whatever it is that fills you back up and staves off burnout.

The beauty of this approach is, depending on your objectives and commitments at any given time, you have total flexibility in how you divide your days and week into said blocks . The key is that structure facilitates momentum and in turn, achievement.

The pre-dye white work is time-consuming, especially considering all the little circles to embroider. I am going to be figuring this one out as I go along, but am trying to resist laying the stitch-work in too heavily before dyeing, knowing now that a lot of stitching will be necessary afterwards to bring out and define the image from the shibori pattern.

I’ll admit that I’m something of a productivity geek, so I love this stuff. Huff’s and Gilkey’s ideas were just the boost I needed to get started on the rollover from 2018’s goals to those I’ll concentrate on in 2019.

And speaking of goals, one of mine for 2018 was to pursue a source that would accept/publish a self-written article about my work and practice. Every now and then fate goes to bat for you.
Last week I received an email from the editor of HAND/EYE Magazine, asking if I would give her 500 words and 8-10 images for this week’s online publication. You bet I said yes! … and it was well-worth the focus blocks it took to get everything in order on such short notice. As a result, I didn’t get as far as I’d hoped with this current stitched piece, but that’s a trade-off I was more than willing to make . I hope you’ll read the article.

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One last thing that may be of interest: Slow Fiber Studios of Berkeley, CA is having a 10%-off holiday sale through December 31st. They carry books, videos, fiber, tools and natural dyes. Who knows what you might find!
Use the promo code: HOLIDAY.

Secret Weapon

If ever I needed a good reminder of why it’s important to have drawing materials with me at all times, it happened last week.

For years, a sketchbook has been a very trusty companion while I’ve waited…in school and store parking lots, in airports and train stations, and even for cookies to be done in the kitchen. In many instances you never know just how long you will be left hanging. But the beauty of a sketch is it can be done very quickly or, the longer you sit, stretched out into minute detail.

planes

Schiphol Airport ©2014 Elizabeth Fram The word “waiting” shows up a lot in my travel sketches. Airports are great places to try to explore the fluid shape of a plane from different angles. And ubiquitous cell phones & laptops make it easy to practice quick captures of fellow travelers.

Due to an accident on snowy roads last Friday, I sat boxed-in at the top of an off-ramp for the better part of an hour. Not wanting to turn off my engine because it was only 19º F. outside, at least I had the radio for company. But it doesn’t take long to feel pretty antsy when no one is moving and there’s no way to know what is happening or how long the snarl is going to last.

Bruce Road ©2009 Elizabeth Fram, 4.24 x 5.25 inches, Ink on paper When our house was on the market before moving to VT, appointments for house showings would invariably be set up for around dinnertime…most inconvenient when you have a ravenous teenager with a boat-load of homework to get through. We would would pile homework, food, and drawing supplies into the car and park up the street to wait where we could watch to see when they’d left.

Luckily, even though I only had a small 3.3 x 5.5 Moleskine Cahier with me, that was all I needed to get my mind off the frustration of being late for my appointment while finding myself stuck for who knew how long. There’s a lot to be said for getting lost in the world of shape and line — it’s far more interesting and productive than sitting and stewing. And to tell you the truth, it made the situation rather pleasant.

Council Rock vs Bensalem ©2006 Elizabeth Fram, 5 x 8.25 inches, Pen on paper. Over the years I spent as much time as any parent waiting for games and track meets to begin, and happily so. Occasionally lacking someone to chat with, there was usually something interesting to draw.

After about 40 minutes with no police presence to take charge, a resourceful UPS driver (thank you again, whoever you were) got us backed up and turned around, one-by-one like a sliding tile puzzle. And just like that, I was on my way.

Fall View from Shaws ©2014 Elizabeth Fram, 5.25 x 6 inches, Pen on paper. The parking lot of our local grocery store looks across to lovely tree-covered hills. It’s a good spot to gauge subtle seasonal changes.

In hindsight, I keep thinking about how that little sketchbook made it possible for me to leave the situation happily lost in thought about John Muir Laws’ principles, rather than dwelling fruitlessly on the frustration caused by the unexpected delay.
$3.00 very well spent, wouldn’t you say?

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Enjoy your Thanksgiving leftovers!

Laws’ Laws: Awareness, Creativity, Curiosity

I know that one of the biggest challenges people often experience when beginning a new sketchbook or art journal is taking the first step. I get it; it’s hard not to look at a book of blank pages without feeling a certain amount of trepidation about how it’s going to materialize.

John, detail ©2018 Elizabeth Fram, Graphite on paper Many of our life drawing models come with props or costumes. John was leaning on a baseball bat in this pose, which explains the tilt of his body.

In order to get around that fear, I’ve found it helpful to take the perspective that each new page in my daily sketchbook is just another opportunity for pressure-free learning. There’s no point in worrying about the inevitable drawings you won’t want anyone to see, or how unlikely it is that it will end up as a polished product from start to finish. That isn’t the point.

It’s much richer to have a sketchbook that is a true mirror of my day-to-day reality (successes and struggles alike), recording the things that, to some, may seem so ordinary they don’t merit a second glance, but which, for whatever reason, caught my eye in the moment and hold onto that meaning when I look back over those drawings later.

With that in mind, I loved reading about John Muir Laws on Austin Kleon’s blog this week. Laws is a nature journalist and the illustrator of a comprehensive field guide to the wildlife of the Sierra Nevada. He is enthusiastic about sketchbook journaling and promotes it as a way of being more attuned to the beauty that surrounds us and as a weapon against the ennui of familiarity. It’s a strategy that has merit regardless of whether you’re trying to capture a scenic vista or your breakfast dishes.

“We live in a world of beauty and wonder. Train your mind to see deeply and with intentional curiosity, and the world will open before you. Keeping a journal of observations, questions, and reflections will enrich your experiences and develop gratitude, reverence, and the skills of a naturalist. The goal of nature journaling is not to create a portfolio of pretty pictures but to develop a tool to help you see, wonder, and remember your experiences.” ~John Muir Laws

Mermaid ©2018 Elizabeth Fram, 18 x 24 inches, Graphite on paper I regret that the model’s facial expression looks so dour here – as she was decidedly not so. Sometimes, just the slightest change of line can affect the whole expression, but unfortunately I didn’t see the need to adjust until after I’d gotten home. As I mentioned in last week’s post, a bit of time and distance can make a huge difference in assessment. She was wearing the most beautiful mermaid costume that she had sewn herself, covered in green sequins. With the flowers in her hair, she was a force!

Laws suggests a three-pronged approach to have in the back of your mind as you tackle your sketchbook/journal. He is a naturalist, so his purview is wildlife and flora, but his principles apply no matter what you choose to draw. They also serve as a reminder that there is a greater significance to drawing regularly than solely capturing a likeness:

Awareness: “I see…”: You notice something, draw a picture of it, make notes about it.
Creativity: “It reminds me of…”: You consciously seek out analogies to what you’ve seen and make notes about those.
Curiosity: “I wonder…” You ask questions or create hypotheses about what you’ve seen.

Additionally, he recommends that each page contain three different types of notes: drawings, words (descriptions), and numbers (measurements). I think this is an especially smart framework to lean on if you’re having trouble getting into a rhythm with a new sketchbook.

Nefertiti ©2018 Elizabeth Fram, 24 x 18 inches, Graphite on paper This model doesn’t shy from dressing up either, although she didn’t have time in preparing for this session. Still, I couldn’t help but think of regal Nefertiti as I drew her silhouette, her dreadlocks enclosed in a beautiful head wrap.

Take a swing through Laws’ website –he has a page filled with free online lectures, classes, and step-by-step lessons. I’m not a naturalist sketcher, but the I got a lot out of his talk about his drawing process and practice while knitting by the fire a couple of evenings ago.

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Hard to believe that Thanksgiving is already upon us! With that in mind, I’d like to just take a moment to thank each and every one of you who make the time in your busy lives to check in with me here, whether faithfully each week or just sporadically. Your support, interest, and comments (both public and private) are the meat of the conversation I was seeking when starting Eye of the Needle, and are what keep me coming back week after week.

May you have a lovely holiday!