Well, perhaps not unearthed, but this poor wooden house was dragged out of a tight storage space in my parents’ house over the holidays.
It has already lived a well-travelled life, having been purchased in Ontario around 35 years ago by my Mom who was trying to fulfill a childhood dream she had. It was brought to Trinidad where we lived at the time, and after a bit of fledgling work on it, she realized that old dream had long ago fizzled out. It made the trip back to Canada with us when we returned to live here about 10 years later. All that back and forth and change of climate coupled with time have taken their toll. The poor thing needs some love & attention.
First, the structure needs a bit of help. We put glue between the layers of plywood that had separated and clamped it to dry with some cute clothespins. Next, a bit of sanding & some paint will work wonders.
We are determined, Emma & I. We have made a wish list of items to create or find, that ranges from a sofa to bunk beds, to a set of lounge chairs and a parasol (she has lofty thoughts, this 6 yr old). Wallpaper is being designed (by the 6 yr old … yes, it’s going to be a pretty funky house, indeed). We have started creating dish ware, vases and planters.
Along with the house, there were some treasures in an old box: a wooden stairway that needs assembly, some china dishes & glassware, bathroom fixtures (even a toilet paper roll & holder) and some victorian furniture. These will be mixed with decidedly more modern finds, and hopefully someday in the not-too-distant future, an eclectic, fun dollhouse will take pride of place in her bedroom.
Oh, and don’t for a minute think we forgot the family that lives therein. Here’s the beginnings of it.
Yes, until we find some larger guy peg dolls, there are 2 moms, very fancilly dressed; a Russian-looking son with cape & cozy hat; another son in striped-tshirt, but no pants; and a little girl in sunny yellow. They were a fun project we did with whatever wonderful hand-dyed wool fabrics & embroidery yarns we could find in my Mom’s craft room.
As a follow up to the last post I did about finding my way in the world of partnering with a fabric company, I wanted to share my experience with the second stage, the proofing of first strike-offs.
So, having put together a collection that we were all happy with, and then having done all the colour analysis, and made decisions on scale, my designs were sent off to the mill for screens to be made and first trial prints (strike-offs) of each design in each colourway to be printed. I was so excited a couple weeks ago to get a Fedex package containing a decent sized piece of fabric of each and every design. Incredibly, there were some patterns that printed exactly, and I mean exactly as I wanted. Hooray! There were a few that needed just a few minor colour changes. Easy peasy! And then there were some others. Here are some things I have learnt:
thing 1: In this wonderful digital age in which we live, having one’s fabric produced relies a lot on putting things in packages and having an international courier come get them. While some questions can be dealt with via email and telephone, swatches, printed designs and instructions get handed on to the next person the old fashioned way. In cases of uncertainty, designs have to be returned in this fashion to get the kinks worked out. Things take time. Have everything VERY well organized, with as much detailed explanation as clear as possible to avoid delays.
thing 2: Leaving decisions to someone else does not always turn out the way you would expect or hope for. I trust fully that this great fabric house I have teamed up with does amazing work. My issue is more a matter of wanting MY vision of my work to be what ends up on the fabric, not someone else’s interpretation of it. There was a query with one of the designs’ scale. As there had been quite a time lag between when I had sent them all the finalized work and when they got to sit down and go through it, I could not remember exactly what the size of a certain pattern was supposed to be. They suggested the scale I had given them looked too large. I said to do what they felt was best, so as not to delay the process any longer (see thing 1). I ended up with that print being half the size it should be, and some parts simply don’t read very well. With the number of screens that were made to produce it, there’s no turning back now. I take full responsibility for the glitch. It was my decision to say “do what you think…”. There are a number of people involved in the whole process, and I can’t expect everyone to be able to (or want to, for that matter) climb inside my head to get a good look at things. A relatively easy fix was to remove the few elements that were simply too small and appreciate it in its different state. Be clear in your choices. Keep a copy of things you physically send out so you have something to reference when a question arises.
thing 3: Solid colour is MUCH easier to work with than transparency. I actually knew this going into it. I had serious doubts as to how subtle changes in colour, gradients and washes would be able to look as I had intended. When I saw a few designs printed, my first reaction was to say that I simply felt lost as to what to do to get them from where they were to where I needed them to be. Deep breath … Once I sat down to analyze it bit by bit (forget looking at the entirety, that just made me want to go eat ice cream or spend a few hours on Pinterest) I realized it was do-able. Anywhere that subtle changes in colour need to be done, lighter colour is put down first, then darker colours are stippled on top in lower or higher densities, depending on what is needed. I would say this is better achieved with a light, a middle and a darker tone. Using only a light and a dark (as I tried in a few areas due to limits on the number of colours that were allowable) leaves things looking not as soft.
thing 4: Being specific is very important. I had to sit and write out all the changes I wanted. This could be anything from “that green is too washed out, it needs to look more like this” (provide new colour chip), to “that colour was put in the wrong place”, to “this line needs to be removed” (sometimes strange little things get added to a design when screens are being made). I did this on every single spot I wanted adjusted. I didn’t want to leave anything to chance again.
While it was daunting at first glance, it was an exercise I am so happy I had to go through, as it has taught me so much more about how colour is analyzed by the mills. For some patterns I asked that another strike off be done prior to a committed print run. As it’s my first time around, I feel it better to be sure my proposed changes will have the effect I am hoping for.
So now, I keep my fingers & toes crossed and wait again for my friendly Fedex guy to come knock on my door.
I will let you know how it goes, for sure. And sorry for the lack of pictures … I want it to be a surprise.