the great green room: tiger skin rug

In the great green room is a tiger skin rug, but it is not said goodnight to

In the great green room is a tiger skin rug, but it is not said goodnight to. Discuss.

The tiger skin rug has deviled me from the start. First of all, the whole idea makes me very sad. Then there is the truncated illustration, and as always, ineffable questions of interpretation and medium.

My first solution is literal; my task is but to replicate. As with the fishing bunny picture frame, I fiddled with tracing it in Illustrator and Photoshop, but determined that a freehand interpretation was truer to the spirit of the great green room, and WCHWD.

I hated it. It’s black Sharpie on a yellow microfiber cleaning cloth. It may be too soon to depose it, before I’ve got the rest of the bedside pieces made, but when I look at it, I flinch. I put it on the backburner of things to consider.

Time is running short of the mid-March completion date. I thought, perhaps go literal a different way, and I bought a quarter-yard of a tiger skin print fabric.

Printed tiger skin?

Printed tiger skin?

I didn’t even have the heart to cut it out and ponder edge treatment.

I had always considered doing a needlepoint version of the rug because, hey, I love needlepoint, but I am also keenly aware of the time constraints. And also, WWCHD? There are a few miniature tiger skin rug charts out there, but when I happened across Susan McBaine’s Miniature Needlepoint Rugs for Dollhouses, something went, um,  something inside.

tiger3

The design has an integrity seemingly missing from other charts I have seen. And if I’m going to depart from pure re-creation of Mr. Hurd’s illustration, there has to be a compelling — or whimsical — reason.

Trouble is, the charts are drawn by hand and smudgily printed in black-and-white (the book was published in 1976, a simpler time), and reading them is harder than stitching on the 49-count silk gauze I will use. My solution: photocopy and enlarge it, then color in with Prismacolor pencils. Very 8-bit :)

Bigger and more colorful!

Bigger and more colorful!

I think I’ll have an easier time stitching from this chart. It’s 150 stitches wide, which translates to 1.5 inches (38 mm) on 49-count, which is a bit wee. I need to order the two tiger-colored threads (I have the black and ecru) from Red Rock. What to do, what to do?

back to the animals rug

Tiny stitching has resumed

Tiny stitching has resumed

Spending quality time with the Animals rug again. It had been supplanted by work on the Sea House Pavilion, then (and now) by the Great Green Room and the Baluchi prayer rug.

The center design is absurdly complex. Whereas the borders have independent motifs, the interior is all tangled up together, and I have a dozen threads going at once, which of course jumble themselves every other stitch no matter how cleverly I try to keep them out of the way. Part of the challenge, I guess.

Still. I love working on this rug and seeing it come to life. I may have coined a new term to describe those who do miniature needlework: needlepointilist :)

The reality check: 49-count silk gauze, 281 x 398 stitches (5.75 x 8.125 inches, 14.57 x 20.63 cm); single strand of DMC cotton and Gütermann silk. Design by the fabulous Natalia Frank.

2013 grand prize winner

Inviting you into the Sea House Pavilion, in a magic carpet way

Inviting you for tea or cocktails at the Sea House Pavilion, via magic carpet

Having the Sea House Pavilion win the Grand Prize award in HBS’s 2013 Creatin’ Contest feels like this pic: dreamy, delightful, unbelievable. Completely unexpected. Truly an honor.

Come sit down

Come sit down and hang out

And it has afforded me the opportunity to learn to spell pavilion correctly (I still keep wanting it to have two Ls).

I mentioned in an earlier post that I made a tiny version of my notebook, open to some of my first sketches done in April 2013 (seen above, on the couch).

Computer, enhance.

Some of my sketches and notes for the Charming Cottage

Some of my sketches and notes for the Charming Cottage

I spent most of last year getting our house in Rhode Island ready to sell, then packing it up and driving across the United States in a 31-foot motor home with my husband, our very large dog and two disgruntled cats, to return to Northern California, where I am from. (We shipped all our stuff, except the guitars.) The starting kit Charming Cottage in blue tape dry fit was as far as I had gotten before the move until Mid-September, when I was able to unpack my studio, try to decipher my notes and begin to build in earnest.

I worked on it nights, weekends, holidays and vacations right up to the deadline. I was so happy when I learned we could make a digital contest submission this year.

SH_Pavilion_side

The sun is starting to set. Might we get some rain?

The Sea House Pavilion is part of a compound in coastal Northern California, in the same town where Loft No. 1961 is, my first-ever build and a First-time Entrants’ Award winner in the 2012 HBS contest. More about that later :)

Enge_Loft_003

Loft No. 1961, the studio of a woman writing a book about her father’s death

The loft bed where she can sleep when she’s worked late

The loft bed where the writer can sleep to dream

You might notice some themes that seem to carry through my builds :)

Tiny Baluchi prayer rug: finished

Baluchi miniature rug

Finished stitching the tiny Baluchi prayer rug. Because I worked without a hoop, it was way skewed.

Blocking the tiny Baluchi prayer rug

Beginning blocking the tiny Baluchi prayer rug

I gently washed it with mild soap in warmish water, blotted out excess moisture on a microfiber towel, then pinned it to a piece of foamcore covered in cotton batting and old soft cotton sheeting, gently stretching and re-pinning it into square. Then waited impatiently for it to dry.

I trimmed the excess silk gauze to 3/8 inch and folded to the back, mitering the corners.

Binding the edges, with scary dinosaur fingers

Binding the edges, with scary dinosaur fingers

Using a doubled length of blue Gütermann silk (the outermost color in the border), I stitched through both layers, from back to front, with a few extra stitches in the corners to square them out. I cut a piece of Pellon featherweight fusible interfacing a bit smaller than the rug, and ironed it on the back. This both protects the gauze and stitching, and ensures that the rug lays flat. (And hides a less-than-elegant backside if you’re a novice needlepointilist like me :)

Inviting you into the Sea House Pavilion, in a magic carpet way

Inviting you into the Sea House Pavilion, in a magic carpet way

Not sure where it might ultimately reside, but I really enjoyed making it. As I mentioned in the first post, it’s stitched on 49-count silk gauze with six colors of Gütermann silk, with a stitch count of 81 x 126, adapted from a design by Meik and Ian McNaughton. Finished size is 1.5 x 2.5 inches (38 x 64 mm).

Now I can get back to the Animals rug!

the great green room: a little toyhouse

v2, next morning

v2, next morning

I scored and cut out the revised pattern, reversed this time so the joining seam would be on the far side. Later I realized I could have reconfigured it slightly more so that the joining seam would be on the back of the far side, and not visible at all. Dammit and oh well.

Handheld dry fit

Handheld dry fit

I ran a red marker on the cut edges to cover the white paper, from the white side so that if my hand slipped, I wouldn’t scribble on the red cardstock. (Lesson learned from v1.) The addition of roof flaps made it far more stable. I had exactly enough lace left to make the new curtains. The interior is left white to reduce contrast with the curtains, because after all, it is unfurnished :)

A little toy house

A little toyhouse in the great green room

For the door, I duplexed black and red cardstock so that the black made an outline. The porch is 1/16-inch basswood covered in yellow cardstock and edged with green Sharpie marker. On the back wall of the house, I punched three holes for the lights. The roof is still unglued to allow access; I’ll attach the chimney after that’s done. I’ll drill a hole in the foamcore wall for the wiring, but for now I want to keep the walls movable.

Lights

Lights on!

And here it is illuminated. I like the shadows cast by the net curtains. Very cheerful, yes?

the great green room: curtain fabric

Good Night Moon curtain fabric

I replicated the curtain fabric for the Great Green Room

Very pleased with the way the curtain fabric for The Great Green Room turned out. I “designed” it in Illustrator and matched PMS colors, then learned Spoonflower uses RGB hex colors — a simple conversion. They print on a dozen different fabrics; I chose their Silky Faille for weight, drape and brightness. I’ll do a test with the pins-and-hairspray method of curtain construction to see if it discolors the fabric at all.

Being able to custom print fabric (and wallpaper!) is a significant opportunity for miniature builders. Many ideas swirling around my drafty little design brain. Check Spoonflower out!

the bookcase

Goodnight Moon bookcase

An RGB library

Since they’ll never be taken out and opened, I made cheater books to fill the bookcase from 1/8- and 1/16-inch wood, covered in paper. I thought of printing actual titles of my imagined bunny child’s library, but opted to mimic Mr. Hurd’s style. (When in doubt, I ask WWCHD?)

The copy of The Runaway Bunny, however, I decided to do “real”. I had to make an even smaller version from my first attempt to fit the bookcase, just a half-inch tall.

A wee and more wee “Runaway Bunny”

A wee and more wee “Runaway Bunny”.  Also really scary sandworm fingers.

For the painting on the wall, I used the art (converted to grayscale) from The Runaway Bunny, “If you become a fish in a trout stream, said his mother, “I will become a fisherman and I will fish for you.”

The frame is hand-drawn and cut from a double thickness of cardstock. I tried to trace Mr. Hurd’s picture in both Illustrator and Photoshop, correcting for perspective and whatever, but found my sketching hand was more clever than technology in reproducing a workable likeness. Refreshing!

Great green room picture frame

Pretty sure I want to make a full size frame that looks like this.

Goodnight Moon great green room

Furnishing the great green room

Think I’ll work on the little house next.

a basket of logs

great green room logholder

I have “interpreted” the log basket

How to make a three-dimensional object from a painting and remain true to its 2D styling? For the basket of logs, I decided to go woven paper and real logs. After painting cardstock with the match yellow acrylic, I wove half-pica wide strips, then cut out the basket shape on the diagonal. (Yes, I switch measurement systems willy-nilly. Wood is almost always in inches, but my long years of graphic designery allows me to think and see in picas. It’s basically base 12, and very handy in 1:12 scale noodling.)

great green roon Goodnight Moon logholder

I wasn’t going to tell you these are half-pica (6 points) wide strips of painted cardstock

There are two other divergences from Mr. Hurd’s illustration: I stabilized the basket with an edging, and currently there are five logs in it.

O_O

I just liked the way it looked better. I toyed with the idea that five logs in the basket makes sense as the prequel to the great green room as famously pictured… I will probably go back to three logs.

Goodnight Moon log holder

Before the fire has been lit, so *of course* there are five logs in the basket

We’ll slide more down the slippery slope of logic and time as the build progresses.