Jane Austen's Birthday Blogfest

Happy Birthday, Jane Austen! 

I have been obsessive about Jane Austen's works for some time. If you know me well, you are likely to know this. Though I have neglected to invite people to attend, I have prepared a party, of sorts, in her honor. 

Upon hearing my plan, my daughter offered the loan of her stately, white Christmas tree. Soon it was decided that ornaments reflecting the world of Jane Austen would be the focus of this celebration. One would think to start by creating a list, or making some notes, but that is not how the ornaments were developed. 

Sorting through some materials I have gathered through the years (also read hoarded with the thoughts of clutching them in my hands until my last breath) I found some images that would give me the jump start for these ornaments. Other influences were reference books I have acquired over the years and a wonderful stash of Dresden Trim from Gwen Lafleur's shop. Just see how these elements come together to celebrate the genius of Jane Austen. 

Note: Much discussion has been had by those of use who love Jane Austen (also referred to as Janeites) regarding how to refer to the lady. Referring to that most talented lady by her given name seems crass and presumptuous and saying Miss Austen seems stilted. If it seems repetitive or silly to type her name out in full, consider the delicacy required of such introductions. I am sure you will forgive me. 

The Jane Austen Ornament

Jane Austen, the master of the folly of human nature painted portraits of a country village and it's foibles with a light and humorous touch. 

The ATC was covered with blue paper, musical scrap, and lace scraps. The portrait of Jane was drawn on and embellished with gel pen. A rose of English scrap was added. Dresden Trim was added with hot glue. 

The Naval Set

Two Austen Brothers and Their Ships

The Naval Set - Two of Jane Austen's brothers joined the Navy. Frank Austen who reached the rank Admiral of the Fleet is shown in the ornament on the left. The ornament on the right shows a picture of the Unicorn, a ship that brother Charles Austen spent time on at of the beginning of his naval career. He eventually advanced to the rank of Rear Admiral. If you wish to learn more about these brothers the book Jane Austen's Sailor Brothers (see information below)

Looking upon the Dresden trim I had received from Gwen's shop this month it was remarkable how much the pieces looked like the medals seen in the paintings of the two brothers. Each of them wore two medals, one cross-shaped and the other circular. 

Examining the paintings as much as possible I noticed the way they were hung from ribbons. A velvet ribbon just the shade of blue that had been chosen for this project appeared, seemingly from nowhere. I do not remember ever seeing this ribbon, but there it was on the floor. So it was chosen (though strictly not the correct color for the medal.) Another type of Dresden trim was secured along the bottom edge of the ribbon to echo the look of the metal that held it all together. 

With these elements in hand and a strong vision for what the ornament should reflect, the search for the background paper begun. A blotter paper covered with paint the perfect match of blue was found and cut to pieces the size of the ornaments (ATC size - 2.5 X 3.5 inches) and adhered to the ATC backing, in this case, the cardboard packaging from a flat of soda. 

The portrait of Sir Francis Austen and the painting of the Unicorn were both photocopied from the book Jane Austen's Sailor Brothers: Being the Adventures of Sir Francis Austen, Admiral of the Fleet and Rear-Admiral Charles Austen by John H. Hubback and Edith C. Hubback. 

trimmed and pasted to the ATCs. Hot glue was used for attaching the Dresden trim and the ribbon. 

Cassandra Austen
Beloved Sister and Confidant

Much of what we know about Jane Austen comes from the letters she wrote to her sister, Cassandra. There is much to be said about her, but that is for another time. This Casandra ornament is dressed for a ball, looking toward her sister for approval and to make sure that the younger sister does not make a misstep while out in society. 

For Casandra's ornament, I wanted to add this beautiful blue cording I had in my stash. To secure it to the tag one might have used hot glue. Well, one might have if one had thought of it. My mind turned towards needle and thread. First, a ruler was consulted to make .5 inch marks around the ornament. An awl was employed to pierce the cardboard. 

Then, using a needle and thread, the cording was sewn down. The first attempt was dismal. The stitches pulled at the cording making it unpleasant to see. So, the stitches were taken in the back of the cording in order to preserve the texture of the cord. 

Ah, but I am getting ahead of myself. First the background was attached to the ATC, English scrap and an image from the card set (see below) adhered with gel medium.

The cord was looped around the top into a rosette and secured by sewing it with the needle and thread. 

The ball

There is always a ball, isn't there? If not a ball, an assembly. This is the chief thrill of the young folk in Jane Austen's novels. Seriously. That and talking walks. Maybe carriage rides. 

To make this ornament the card was first prepared by adhering the background paper with gel medium. A white ribbon was added to upper and lower edge. A piece of lace was added but only glued down in the middle to let the edge ruffle a bit. The Dresden Trim was added hot glue. Finally, the dancers were cut from the card and attached with points of hot glue only at the heads. This allows for some movement and depth. Both qualities one wishes for from a dance partner, but are very seldom gratified to find. 

Caroline Bingley and Mrs. Hurst

This image from the card set immediately brought Mr. Bingley's sisters to mind. It would be just like Caroline Bingley to turn her back to us.  

The blue background of this piece is made with Gwen's stencil (see below) attached to the ATC. Layer and English scrap flower bouquet and add the figures cut from the Jane Austen cards. Finish by affixing Dresden Trim with hot glue. Mrs. Hurst has the reputation of having 6 inches of lace at her hem, perhaps a double row of trim is called for. 

Marianne Dashwood

Marrianne Dashwood had reason to dress with care. She hopes to continue her association with that rascal Willoughby. 

Gwen's stencil again is the background for this ornament. Add the piece from the card, the Dresden Trim and a piece of light blue floss to hang it by. Done almost as quickly as Marianne's enjoyment of her stay in London. 

Emma Woodhouse and Harriet

Emma Woodhouse sharing confidences with her protege, Harriett.
Would that she would have held back a little in her encouragement of Harriet's ambitions. 

Add paper covered with Gwen's stencil to the ATC, a small flower of English scrap and the gossiping girls. The ornament is simple but reminds of the complexities of human folly. 

Anne Elliot 

Anne Elliot, mild-mannered and restrained, is not of the same mold as her extravagant father. She is of a deeper nature. 

Gwen's stencil is topped with a piece of geranium scrap from the English scrap, layered with an image from the card set and layered with Dresden Trim above and below. Anne is down to earth like the humble geranium but has the worth of gold with her depth of understanding. 

Materials used: 

Gwen's Essentials - German Dresden Trim - Borders Assorted Patterns

Gwen's Essentials - German Dresden Trim - Small Medalions 

Fabulous Florals English Scrap Sheets - Roses and Blossoms

You are in luck. Gwen is having a sale on Dresden and Scrap this month. You won't regret getting your hands on some of this for the new year. 

Gwen's StencilGirl Stencils - Decorative Collection Decorative 6-Petal Flower Screen Stencil (6X6 inches)

All ATC ornaments were made from cardboard from cereal boxes

Under the Tree

I couldn't resist putting some things under the tree. Whether they are a gift for Jane Austen or a gift of Jane Austen is up to you. You will see the book I referenced and the set of cards I took the images from. 

Also, you will see a new product that I am developing for release in the Etsy shop I will open at the beginning of 2018. It is called A Novel Yarn - Art Yarn for the Well Read. This first edition is the Pride and Prejudice Yarn. Handspun wool with bits of silk (undoubtedly from the dresses of the Bingley sisters), pieces of lace (what fine young lady neglects lace on her ball gown) and text cut from a used copy of the book. Soft and fluffy, this two-ply yarn is perfect for art projects like weaving and mixed media, but cannot be used for clothing items as it cannot be washed safely. 

What do you think of A Novel Yarn? What novels/authors would you like to see represented in this line of art yarns? Your thoughts are much valued. 

Happy Birthday, Jane Austen. You continue to inspire. 

References:

Hubback, John H., and Edith C. Hubback. Jane Austen's Sailor Brothers: Being the adventures of Sir 

     Francis Austen, Admiral of the Fleet and Rear-Admiral Charles Austen. New York, Cambridge 

     University Press, 2012. 

Jane Austen Notecards. New York, Random House, 2007. 

Feedback and Then What?

Shoup, Lynda Diane. Work in Progress. 2017, Private Collection of the Artist.

Last week I sent my artist's statement out for feedback. It was a moment of vulnerability for me. I think it is for everyone, at least the first few times they do it. There is so much that goes into our work. I don't know about you, but it certainly worried me whether my statement would reflect that.

I did receive thoughtful and interesting feedback. It was clear that the two people I shared my statement with both took great care in giving the feedback. They both showed that they had given it more than a cursory glance. I am very humbled and grateful.

Once we receive feedback it is hard to know how to process it. My plan is to sit down with my statement, both of the sets of feedback and a red pen. There will be caffeine involved (though I dare say you may think me boring that it will be tea and not coffee.) These two dear people have spent their time thinking about my writing. I will certainly give them the same respect. Why haven't I done it yet? Well, like I said, I plan to give it the level of attention it deserves. Perhaps in the process, I will understand what I am trying to do more fully.

So next Wednesday I plan to post the final post in this series, at least for a while. I will post more about writing about art as there is subject or need, but for my ramblings on this topic seem to be fulfilled. If you read more, please leave me a comment with the topic you would like to read more about. Has this series been interesting or helpful to you? Is there anything else you would like to read about? Want to just say hi? The comments section below is waiting for you. 

Fear of Commitment in Writing about Your Art

Shoup, Lynda Diane. Work in Progress. 2017, Private Collection of the Artist.

As I look through artists’ statements, look at their websites and Instagram feeds, I notice that professional artists specialize. Strong writers are specific and let you know exactly what you are going to get from them. Those of us who are late to the party, those of us who are heeding our artist’s calling later in life after doing other things, those of us who want it all, well, we have a hard time being that specific.

Let’s face it, we see specificity as limiting. We don’t want to be put into boxes. We want to be free to create whatever we want to with no holds barred. Listen, we’ve put our art on hold for more practical matters, art has been the joy in our lives. We don’t want to put a damper on it or demand things from it. It might stop being fun. 

But limits can be freeing. 

Shoup, Lynda Diane. Work in Progress. 2017, Private Collection of the Artist.

Limits allow us to say no to things. Limits allow us to focus. Self-imposed limits are wonderful because we can use them as our road map, but when it’s time to change direction, we can. Maybe you still want to make many things. Maybe you want to create as the spirit moves you. That’s great, but what do all the things you create have in common? What is your common thread?

The artist’s statement can and actually should, be revisited, reviewed and rehashed from time to time. Yes, we evolve and grow as artists. No, we are not going to remain static unchanging, art machines. Change is inevitable. So allow yourself to commit, for now, to focus. Or at least find some commonality that brings a sense of cohesiveness to your work. 

Shoup, Lynda Diane. Work in Progress. 2017, Private Collection of the Artist.

What is your reaction to these ponderings? Have you found this to be true? 

Writing the Artist Statement - beginning

Writing the Artists Statement: Reealing the True Spirit of Your Work by Ariane Goodwin is the guide I have started using to write my statement. 

Several years ago I stumbled across Ariane Goodwin’s book Writing the Artist Statement. I checked it out of the library, renewed it and, truth be told, I checked it out again. Her approach to the task is fresh, illuminating and reflective. So naturally, when I started thinking about writing about my artwork my thoughts returned to her method, her insight. 

I turned to the internet to see if I could get my hands on a copy. It's time I have a copy of my own. Score! There are copies to be had. In fact, the copy I got was brand-spanking new.

You can get a peek at the book at her website, the SmARTist Career Blog.

http://smartistcareerblog.com/

Disclaimer - I am not affiliated with her. Just a fan.

So begin my adventures in writing an artist statement. 

Initially, I began with confidence. I am relatively intelligent. I write well. I felt confident that I could write about my work. Sound familiar? 

Then I started. I had no idea where to start. Somehow writing that my favorite color is pink didn't seem to be all that impressive. Worse yet, what are the unifying elements of my work? Well, mastering a technique with paint took time and practice. Why should I expect talking about it to take any less time?

For me, and I suspect for most artists who have followed a meandering path to their art, thinking of our body of work as a cohesive unit is a new concept. A new way of thinking.While I think this book is helpful to anyone writing an artist statement, those of us who came stumbling toward this vocation, those of us without a guide, without a mentor and without a team of established artists guiding us to the fruition of our dreams, this book is more than about getting the statement required for a show, a sale or a publication written. The method helps connect us with our work in a more meaningful way. 

If you are in a hurry and need to get that statement written and on its way by the end of the day, there are plenty of sources out there to outline the minimum requirements for the statement. If you want to shine, and why wouldn’t you, taking the time to make this connection to your work is worthwhile. It’s not just about the statement. It’s also a way to go deeper into your relationship with your artistic self. 

My big take away? So far the most astounding thing I have gotten working through the book is the complete shift I had from focusing on the themes of my pieces to the actual concept behind them. There is a more elemental level concept at play than I had originally identified.

While I highly recommend this book, I am also looking at others that may be easier for people in other locations to get their hands on. Stay tuned. 

4th post in series Writing About Your Art

Documenting Your Artwork Posts

Do you have careful records of each piece of art you have ever created documenting all its aspects from creation to present? I don’t either. Don’t worry. I’m not going to judge. 

What has occurred to me lately is that I have not the slightest record about even my largest pieces. As a librarian entrusted with organizing information I realize what a problem this could cause me down the road. 

Maybe, like me, you create art and move on. Maybe you have not shown your work yet, maybe you are not even aware that you need to provide certain information about your work if you want to submit for publication, have a show or create a catalog of your work. Perhaps you half-heartedly say “I’m just a hobbyist. I am not a ‘real’ artist.’” Perhaps you are secretly hoping someone will protest and tell you that you are a real artist. Perhaps you dream of showing. Guess what? You will need to document your work. So you might as well start now. 

Full disclosure - I am no expert. I do not have a wonderful document full of the information I need to detail my art. I am starting now. That is great for both of us. As I start on my journey to find the way to do this that works best for me, I will be sharing that information with you. You can take the information you want and leave anything that doesn’t speak to you. 

I do, however, have a background in library cataloging, the importance of these records and a healthy interest in learning more. 

On Mondays, I plan to post about the process of documenting your artwork. Let me know if you are interested and if you have any particular areas of interest. If I don’t know the answer I will look for it. 

Meanwhile, make a list of your art. See how many pieces you can remember. Next week we will begin the process of document them. 

Writing About Your Art

One thing that is so often said by artists, regardless of medium, is “I can’t talk about my art. If I could express myself in words I wouldn’t be an artist.” Others can talk and talk, but never get to the point. 

Do you struggle with either of these problems? Did you ever think about writing about your art? Do you know where to start? What to talk about? Are you mystified reading that art can be discussed? 

Let me know in the comments how much you have written about your art. What are your struggles? What would you like to know? I am no expert, but I do love to learn new things. My training as a librarian makes me eager to find sources to solve information needs.