Clarissa’s Studio Part 3: “The Drawing Room”

Patterns are being tweaked on Clarissa's old-fashioned light table before they are copied on her Epson printer

Hand-built in 1994, patterns are being tweaked on Clarissa’s old-fashioned light table before they are copied on her Epson printer

I use my Macbook for doing layout of designs to be printed on my large format Giclee’ printer, and I know that I can scan and duplicate small patterns, but golly, gee golly, I still use my wonderful light table for tracing patterns and other images worth duplicating.  There’s just something real about going through the motions of duplication on hard-copy paper in hand!

Really?  People still use light tables and overhead projectors!?!?  How’s that?  We’ve got computers and printers to do the jobs!!!

Well, call me from the old school where teaching a new dog old tricks can only go as far as the bone can be thrown, and some of us just can’t throw that far anymore!  So, sure this dog has learned new tricks like how to turn on a computer and where to push play on Netflix and “bookmark” this page to order more El Naturalista boots before they go up in price!

However, this dog still prefers to project the design on the plastic transparency placed on the overhead projector platform which projects the image onto the wall up yonder!  And this dog still prefers to trace the other half of the design by hand tolerating the bright, blinding florescent lights below.

Like I said, I can only throw the new bones so far; because old bones are familiar, I will continue to dig them up and out and naw on them affectionately.

One of Clarissa's most trusted tool, the old-fashioned over head project made by 3M Company

One of Clarissa’s most trusted tool, the old-fashioned over head project made by 3M Company

“Clarissa’s Studio” is a 7-part series showing the 7 areas of Clarissa’s studio where I work full-time and live part of the year in Pagosa Springs, Colorado.

Over the next three months (starting this past May),  I will introduce you to various parts of my humble 700 sq.ft. sanctuary divided into sections.  Here are the parts of “Clarissa’s Studio Series”:

  • “The Living Room” where I play music, read, crochet, knit and clear out the coffee table to do Tai Chi;
  • “The Office” where I draft proposals, emails, FB,  grants, letters, update my website and post blog entries;
  • “The Sewing Space” where I sew button robes and clothing for the grandkids;
  • “The Weaving Space” for all my Chilkat and Ravenstail weaving projects on various size looms;
  • “The Grand Table Space” where I do large layouts of robe pattern designs and cut the applique for button robes;
  • “The Drawing Room” where I sketch and finalize drawings for robes, paintings, collages and book illustrations;
  • “The Painting/Collage-making” where I create just that, along with printing limited edition Giclee’ prints and shrinkwrapping them;
  • “Clarissa’s Kitchenette” where I zap an occasional Amy’s TV dinner for lunch and I keep a modest supply of drinking water;
  • “Clarissa’s Storage Units” for beautiful and practical storage of all weaving, spinning, sewing, dyeing, beadworking supplies and recent collection of books

The first two  blog entries on “Clarissa’s Studio” series include:

“The Livingroom” at:  http://www.clarissarizal.com/blogblog/clarissas-studio-part-1-the-living-room/

“The Kitchenette” at:  http://www.clarissarizal.com/blogblog/studio-part-2-clarissas-kitchenette/

Sandblasted Glass Window Insert

"Frog Speaks" sand-blasted glass window by Clarissa Rizal - 2001

“Frog Speaks” sand-blasted glass window by Clarissa Rizal – 2001

Back in 2001 I had the privilege to apprentice with two glass artists Preston Singletary and David Svenson at the Pilchuck School of Glass.  We were working on the glass pieces that were inserted into the totem pole that David had designed to honor the 30-year anniversary of Pilchuck.  The main body of the totem pole was carved at the Alaska Indian Arts in Haines, Alaska by Wayne Price, John Hagen, Steven Brown, Lee Heinmiller, David and others.  While at the school, Preston encouraged me to use some of the school’s other studio spaces, like the print-making studio, or the sand-blasting area, etc.  I learned how to prepare a plate of glass for sandblasting so I could create an embossed, limited-edition  print of one of my favorite button blanket images called “Frog Speaks.”  I kept the glass plate; since it’s been a part of my window decor in my studio.  Maybe someday I’ll make a second edition of this print OR maybe someday I’ll make a series of embossed prints — just never know!

What Moves Me

Clarissa's late afternoon Tai Chi - Colorado

Clarissa’s late afternoon Tai Chi – Colorado

Over the past couple months I’ve gotten back into Tai Chi; it helps my aging bone structure to feel a bit more limber.  Tai Chi is a tool to keep up your physical and spiritual circulation – 20 years ago when I took up Tai Chi, I only did it for about two years then I quit…I got involved in too much of my business life, family and working-on-the-house-and-garden-life,  and although I loved the movement, I didn’t make it a priority to keep it in my life.  Not like now; I do a lot of sitting, so I’ve got to do something that “moves” me…!

Studio Part 2: “Clarissa’s Kitchenette”

"Clarissa's Kitchenette" includes the basics:  microwave, Fridge, Water with table and chairs!

“Clarissa’s Kitchenette” includes the basics: microwave, Fridge, Water, hot pot, with table and chairs!

A remodeled 2-car garage,  “Clarissa’s Kitchenette” does not have running water nor plumbing, so there is limited eating and/or cooking that goes on in this space, though I still have the kitchenette basics:  microwave, fridge, bottled water and a hot pot!  (And to the very right of my water jug is my metal cabinet tool box covered by a South American weaving).

Three, small, metal cups rest under the water spicket ready for small hands of thirsty grandchildren in "Clarissa's Kitchenette"

Three, small, metal cups rest under the water spicket ready for small hands of thirsty grandchildren in “Clarissa’s Kitchenette”

Grandmothers must always be prepared when their grandchildren come to visit, even if it is just one who lives next door!  And when the others come to town, well then, they gotta share their cups now, don’t they (until of course, Grandma fetches 4 more cups to accommodate!).

Always prepared to share a quick snack in "Clarissa's Kitchenette"

Always prepared to share a quick snack in “Clarissa’s Kitchenette”

High dining table and chairs have become the style; at first I didn’t like that, however, I like the height for certain things, especially eating.  To the very left is my free-standing, 6′ acrylic painting on canvas stretched across a curved column entitled, “Totemic Theories.”  Hand-made ceramic bowls are being collected one-at-a-time from Durango Pottery and woven placemats and napkins from Pier 1  via gift to me from grandmothers-in-law, Charla Ellis.  “Leaf” plates are from Walmart about 10 years ago.   A Northwest Coast shower curtain designed by Morales hangs between the kitchenette and the bedroom.

Throughout my studio, I have weavings from various parts of the world.  In photo below, on the wall is a field of geese with children walking camels past a lone house.  This weaving was hand-made by young teen-agers in Egypt.  The woven rugs and pillow coverings in the living room were made by the Zapotec in Mexico.  In the rest of my studio, I have rugs woven in Tibet, a Nepalese prayer rug, a large, English tapestry, a large, woven box from Sweden, an Irish throw from County Clare, and throughout my studio, my trash cans are large woven “baskets”.  Other baskets are from Africa, China, India, etc, and then of course, I use cedar bark baskets to hold my honorary weft yarns for Chilkat and Ravenstail weaving.  Then not to mention my bedroom wicker set with carvings, and my wicker living room furniture.  It wasn’t until about a month ago, I came to realize my surroundings are full of weavings!  Golly, does this mean I am really watch you might call a weaver?

View into the "Studio Living Room" from "Clarissa's Kitchenette"

View into the “Studio Living Room” from “Clarissa’s Kitchenette”

“Clarissa’s Studio” is a 9-part series showing the 9 areas of Clarissa’s studio where I work full-time and live part of the year in Pagosa Springs, Colorado.

Over the next three months (starting this past May),  I will introduce you to various parts of my humble 700 sq.ft. sanctuary divided into sections.  Here are the parts of “Clarissa’s Studio Series”:

  • “The Living Room” where I play music, read, crochet, knit and clear out the coffee table to do Tai Chi;
  • “The Office” where I draft proposals, emails, FB,  grants, letters, update my website and post blog entries;
  • “The Sewing Space” where I sew button robes and clothing for the grandkids;
  • “The Weaving Space” for all my Chilkat and Ravenstail weaving projects on various size looms;
  • “The Grand Table Space” where I do large layouts of robe pattern designs and cut the applique for button robes;
  • “The Drawing Room” where I sketch and finalize drawings for robes, paintings, collages and book illustrations;
  • “The Painting/Collage-making” where I create just that, along with printing limited edition Giclee’ prints and shrinkwrapping them;
  • “Clarissa’s Kitchenette” where I zap an occasional Amy’s TV dinner for lunch and I keep a modest supply of drinking water;
  • “Clarissa’s Storage Units” for beautiful and practical storage of all weaving, spinning, sewing, dyeing, beadworking supplies and recent collection of books

The first blog entry on “Clarissa’s Studio” series include:

“The Livingroom” at:  http://www.clarissarizal.com/blogblog/clarissas-studio-part-1-the-living-room/

Agnes Called It “Brainwashing”

Clipping a little girl's fingernails

Clipping a little girl’s fingernails

To ensure a young girl to become a good weaver, in the olden days, her fingernails were clipped and woven into the Chilkat robes.  The late master Chilkat weaver Jennie Thlunaut’s daughter, Agnes Bellinger  called this “…kind of like a brainwashing…”  This method was to encourage a straight and narrow path for the girl to grow up to be a strong, talented woman of good character.  Agnes said “You can use this method for anything you want your child to become…”

Recommend NOT use LED Lighting

One of my weaving apprentices recently turned me on to the best lamp for weaving...the V-Light!

Although a great light for weaving anywhere on the go, for health reasons, I recommend NOT!

Last year, a student recommended this LED “V-Light” for weaving.  I experienced great light, the compactness and lightw-weight to travel with my loom(s).  Not to mention how the light made a big difference in my weaving because I could SEE so well…!  I wove every day for at least 8 hours per day for 5 months to complete my last weaving project (the “Chilkat Child”).  The light was fabulous.   HOWEVER, reluctantly, I gave up the light.  I noticed that I had been getting weird headaches, especially around my eyes, my throat became very dry and some days where I could only talk in whispers and my eyes were extremely blood shot.   I experimented three separate times where I didn’t use the light for at least 3 or 4 weeks, and then used it for a week or two, which after that time period, the same symptoms occurred…!  I did some research on line to see if the LED lights were toxic.  Some sources say all LED lights have mercury in them, and some companies warn customers of the LED poisoning happening in our country.  FInd out for yourself.  Do you have an LED light? What is your experience?

Clarissa’s Studio Part 1: The “Living Room”

The Hibiscus blooms fully in Clarissa's livingroom

The Hibiscus blooms fully in Clarissa’s living room

Folks wonder where the heck I live and work; there are only a handful of people who have seen the inside of my studio home, so I figured I would introduce the general public to where I play music, weave, write, sew, draw, paint (and sorry, I won’t be introducing you to my bedroom!).   I work full-time and a half and live part of my year in a remodeled two car garage in the most beautiful part of Colorado.  The studio has no running water, no sewer and has insufficient heat in the wintertime, but I wear my sheepskin boots, sheepskin hat and gloves during the days and sleep in fleece and sweatpants during the bitter cold months in December, January and sometimes February.  Yes, I am working towards someday having a real home though it is gonna take awhile.

The sun sets upon the Easter lilies

The sun sets upon the Easter lilies with what I call  “middle-aged-ladies’-flowers” geraniums blooming in the background

Over the next three months, I will introduce you to various parts of my humble 700 sq.ft. sanctuary divided into sections.  Here are the parts of “Clarissa’s Studio Series”:

  • “The Living Room” where I play music, read, crochet, knit and clear out the coffee table to do Tai Chi;
  • “The Office” where I draft proposals, emails, FB,  grants, letters, update my website and post blog entries;
  • “The Sewing Space” where I sew button robes and clothing for the grandkids;
  • “The Weaving Space” for all my Chilkat and Ravenstail weaving projects on various size looms;
  • “The Grand Table Space” where I do large layouts of robe pattern designs and cut the applique for button robes;
  • “The Drawing Room” where I sketch and finalize drawings for robes, paintings, collages and book illustrations;
  • “The Painting/Collage-making” where I create just that, along with printing limited edition Giclee’ prints and shrinkwrapping them;
  • “Clarissa’s Kitchenette” where I zap an occasional Amy’s TV dinner for lunch and I keep a modest supply of drinking water;
  • “Clarissa’s Storage Units” for beautiful and practical storage of all weaving, spinning, sewing, dyeing, beadworking supplies and recent collection of books
Clarissa's hand-made Northwest Coast Tlingit carved harp

Clarissa’s hand-made Northwest Coast Tlingit carved harp with abalone inlay was recently repaired after nearly 25 years of collecting dust in the attic

I use sheer, white/off-white curtains to divide my spaces.  Since the space is one big room, I want some sense of controlling the cold and heat, keep each work space free from distractions from other projects in the other work spaces, and to create privacy when needed.  For example, compare the above photograph showing the closed curtains behind the couch, and then the open curtains in the photograph below exposing the small kitchenette.  In all posts of the “Clarissa’s Studio Series” take note where I use the curtains.

The open curtains exposes Clarissa's kitchenette

The open curtains exposes Clarissa’s kitchenette

I live a secluded life during the Fall/Winter in Colorado in comparison to my very social life during the Spring/Summer in Alaska and most recently Yukon.  In Colorado, I fulfill my need for privacy and seclusion, and other than hanging with my grandchildren and children, my main focus is my work; I work 70- 80 hours per week to create as much as I can within the time frame because once I land in Alaska, life is not about me, it’s about including others.  Because I was born and bred in Alaska, and I remain true to my roots and heritage so I attend Native functions and teach classes, and I must harvest my berries and salmon, and I have many long-term friends and family, and the hours of daylight are long and wonderful, so it is very challenging to get any work done, who has time to work indoors!?!?  There are beaches to be walked, oceans to ride, branches to brush aside and big trees to rest under, and always with others!

Clarissa's music room

Clarissa’s music room

So every Springtime before I leave for Alaska, I absorb my serenity and look about me at the little bit of charm I’ve created herewithin, and I appreciate the stillness and silence while I create, create, create.  Life is good as I nourish both aspects of this Gemini being!

Easter lilies at sunset in Clarissa's music livingroom

Easter lilies at sunset in Clarissa’s music living room; and I’m sure you’ve noticed Clarissa’s red, tenor ukelele to the right!

Location, Location, Location of a Tool Box

Sally Ishikawa's tool box is always handy...!

Sally Ishikawa’s tool box is always handy…it’s prominent position rests on the corner of a kitchen counter!

Sally Ishikawa hosted a 5-day Chilkat weaving class at her home in Corvallis, Oregon back in December 2014.  She was one of 5 weavers who are working together to complete a Chilkat apron gifted to them by the infamous Ravenstail weaver John Beard, who was gifted the Chilkat apron by another person.  (See Blog post at:  http://www.clarissarizal.com/blogblog/the-apron-apprentices-oregon/ )   Sally’s home was like a miniature gallery of hand-made arts and crafts by other artists, friends and herself, along with an art book collection that was out of this world, not to mention the fantastic landscaped back yard.

Though of all the things that stood out in her home was the practical, antique, wooden tool box which had its permanent place located on the corner of her kitchen counter:  one side had the basic cooking tools, the other side the basic hand tools for minor repairs or adjustments around the house or garden.   She has eliminated the rummaging through a kitchen drawer or dragging out the tool box and rummaging some more; when you need a tool, it’s easily accessible – there’s no searching!  I just love it!  —  As soon as I find an antique tool box of sorts, you know what I’m doing!

The "kitchen" side of Sally Ishikawa's  tool box

The “kitchen” side of Sally Ishikawa’s tool box

 

THE Cutting Mat of All Time

Rhino cutting mat on 5'x6' table

Rhino cutting mat fits  5’x6′ table in Clarissa’s studio

Many years I have cut out all my button robe applique’s on a small 30″ x 40″ cutting mat which was not quite large enough for many of the designs.  Then a fellow seamstress/clothing designer referred me to the Rhino Cutting Mat she had been using for many, many years.  A few months ago I made it a point to afford one!  I wish I had made this dream come true long time ago!!!

The thickness of the Rhino cutting mat

A close-up of the 1/4″  thickness of the Rhino cutting mat

The Rhino cutting mat comes in several standard sizes, however, you can place a special order for whatever size you need.  I ordered a 5′ x 6′ piece to fit on top of  my two folding tables that sit side by side; this custom-cut mat costed me a bit over $200 with shipping — I tell you, it is well worth the investment!!!

Underneath grid of Rhino cutting mat

Underneath grid of Rhino cutting mat

The Rhino cutting mat is supplied with a printed grid the same size as the actual mat.  The weight of the mat and grid keeps the mat flat and from sliding around.

Seamless surface of the Rhino cutting mat

Seamless surface of the Rhino cutting mat

The best thing I totally enjoy about my Rhino cutting mat is the fact that there is no seam!!  There’s is no possibility of cutting a glitch in your fabric!!!

Tlingit Words & Chilkat Weaving Origins

"Naaxein" is the Tlingit word for Chilkat weaving

“Naaxein” is the Tlingit word for Chilkat weaving

During the Summer of 2013, a couple of my apprentices and I had volunteered to do Chilkat weaving demonstrations at the Sheldon Museum in Haines, Alaska.  While we were there, of course, they had a nice collection of Chilkat weavings from the area, and to our surprise some weaving terms in the Tlingit language!  So on behalf of the Sheldon Museum, I post some of the Chilkat weaving terms as well as the origin of Chilkat weaving according to an anthropologist from the turn of the century who wrote the book “The Chilkat Blanket, George Emmons.

In addition to the comment in the above photo made about Jennie Thlunaut’s signature, Jennie’s checkerboard “signature” was a pattern of yellow and blue.

 

Chilkat definitions

Cost of a Chilkat robe back in the mid-1800’s was $30

Jennie had told me that she sold her first robe for $50.  If my memory serves me, it was the robe started by her mother who passed away when she was a young teenager.  She thought $50 was pretty good for a Chilkat robe; she had a confident smile on her face as she spoke.

"Kasek'xu" Tlingit word for dye

“Kasek’xu” Tlingit word for dye

Jennie and Agnes Bellinger (Jennie’s daughter) told me the golden yellow was what weavers strived for and the best way to do this was all in the urine.   The best urine to make the golden yellow was urine from a woman in her last month of pregnancy; second best urine was from a newborn infant.  The way they collected the urine from a newborn was to place the “wolf moss” in the diaper and only collect #1 (as opposed to #2) and put the soaked wolf moss in the dye bath.  The older the baby, or child’s urine, the more pale the golden yellow.  Jennie and Agnes said there is no wolf moss in Southeast Alaska.  The moss was a trade item with the tribes on the other side of the coastal mountains in British Columbia, Canada.  The youth of the urine made the biggest difference in the color achieved and the set of the dye.

"Kakein" is  Tlingit word for yarn

“Kakein” is Tlingit word for yarn

The mountain goat wool and cedar bark spin together as if they were mated for life; they are attracted to one another like bee to a flower!  Mountain goat hides are hard to come by; and even if they were easy to acquire, there are so many Chilkat and Ravenstail weavers on board, we would make the herds run away further up into the high barren mountains!  In the bio on Jennie Thlunaut here on my website under “Tributes,” there is a map showing the places where the men would hunt for mountain goat.  Today there are a couple of guys who hunt mountain goat.  We weavers need to do trades with these guys so we can let go of using the 2nd best wool that has replaced the mountain goat:  merino wool from New Zealand.  This wool is the closest fiber in the world next to the mountain goat.  It spins up okay, but not as fine as the bee and flower of cedar bark and mountain goat wool…!

Teey Woodi Tlingit for Cedar Bark

Teey Woodi Tlingit for Cedar Bark

The Western yellow cedar is best o split because the strands are silky smooth (when wet), they pull out into longer strands than the cedar (which is more brittle), and when you spin the bark and wool (done on the thigh), your hands are not prone to the first layer of skin rubbing off!  Though if red cedar is all there is to collect, or someone gifted me some, then it is only sensible to not look the gift horse in the mouth.  You acquire what you can!  It is best to harvest the red cedar when the first sign of spring shows up with new green growth at the tips of the cedar tree boughs.

Chilkat weaving origins

Chilkat weaving origins

There are several stories of the origin of where Chilkat weaving first began and how it came to and was retained in the Chilkat River Valley in Haines/Klukwan, Alaska.  The Nishga’a in the Nass River area claim the weaving originated in the Nass River and only the Nishga’a inhabitated the area, not the Tsimpshian.  The Tsimpshian from the Skeena River say Chilkat weaving originated there.  The weaving had died out because of western contact in both areas, but fortunately, as one of the stories go, a Chilkat chief married a weaver from the Nass River (or Skeena River?), and then another story says it was the other way around.  No matter what the story, all agree that there were specifically 4 sisters of a Raven Clan in Klukwan who unraveled the Chilkat apron to gain the knowledge of how the weaving was done.

Chilkat weaving origins according to

Traditionally men designed the Chilkat robes because they were the artists of form line; women were the weavers…

Jennie said she finished a Chilkat robe in 6 months; she had pride on her face as she spoke.  I didn’t believe her at first, but after I learned her fingering of speed, accuracy and tension, and I applied her knowledge to my weavings of today, well……?