Jordan will also receive the American Historical Society's Award for Scholarly Distinction in January.

He reflected on literature, compassion, belonging, home and the "qualities which make us human."

I blogged here before about things disappearing in my house — kitchen utensils, corkscrews, keys, etc. (See “Pixie Problems, or Working Things Out with the ‘Cousins’ (1)” and Part 2, Part 3, and Part 4.) Things have been better since then. … Continue reading →

The New York Post had two articles recently on apparent animal sacrifice in the Jamaica Bay area of Long Island (politically in both Brooklyn and Queens). “Animal Sacrifices on the Rise in Queens with Chickens, Pigs being Tortured in ‘Twisted’ … Continue reading →

Register here for the live cast I am not a Pagan teacher, Witchcraft influencer, or anything like that. Usually i see myself as the person approaching a panelist at an American Academy of Religion session, saying, “Would you consider turning … Continue reading →

The AO3 Fanzine Scan Hosting Project (FSHP) is a partnership between the Open Doors committee and fan-run preservation project Zinedom through which fanfiction and fanart originally published in print fanzines is imported to the Archive of Our Own. Fanworks can be imported to AO3 with the consent of either the creators of the works or the publisher of the fanzine in which the fanworks were published.

Today, Open Doors is pleased to announce a list of collections that it has created since September 2023 to house fanworks imported through the FSHP. A collection has been created for each fanzine from which one or more fanworks have been imported, but these collections do not contain every work from each of these zines, and many so far only include one work each in cases where Open Doors only has permission to import that particular work. For full transparency, Open Doors plans to continue to announce collections as they are created that may or may not grow with additional fanworks as additional permissions are obtained from more creators in the future.

As of August 2024, Open Doors has created the following collections to represent fanzines from which it has imported works:

• A Portfolio of Poetry and Portraits
• Amazing Grace
• Astray in the Wilderness
• Beyond Dreams
• Broken Images
• California K/S
• Contact
• CrosSignals
• Daring Attempt
• Enter-comm
• First Time
• Gateway
• Guardian
• Happy Tails
• IDIC
• In the Wilderness
• KaleidoScope
• KisMet
• KSX
• Legacy
• Legends
• Naked Times
• Nightvisions
• Nome
• On the Edge
• One Shot
• Partners
• Potpourri
• Pushin' the Odds
• Quantum Chain
• Scattered Stars
• Sehlat's Roar
• Southern Star
• Spock's Arthropods
• Strange Justice
• The Complete Rack
• The K/S Press
• The Rack & All the King's Horses All the King's Men
• Three Eleven
• Universe Beyond
• Whalesong
• Within the Mirror

For answers to frequently asked questions, please see the FSHP page on the Open Doors website. If you'd like to give Open Doors permission to import any of your fanworks that have been previously published in print fanzines, or if you have any other FSHP-related queries, please contact the Open Doors Committee.

We'd also love it if fans could help us preserve the story of any fanzines in which they may have been published on Fanlore. If you're new to wiki editing, no worries! Check out the new visitor portal, or ask the Fanlore Gardeners for tips.

Thanks for your interest in preserving fannish history for future generations of readers!

- The Open Doors team

Commenting on this post will be disabled in 14 days, on 18 November. If you have any questions, concerns, or comments regarding this import after that date, please contact Open Doors.

I. AO3 TERMS OF SERVICE UPDATE

Policy & Abuse, Legal, and Accessibility, Design & Technology have been hard at work regarding an update to the AO3 Terms of Service. Among other things, this update involves clarifying wording in both the Content Policy and the "Underage" Archive Warning. This update will not affect what fanworks are allowed or not on AO3, nor will it affect how this Archive Warning is enforced.

In conjunction with Communications, a public call for feedback was posted and comments will be accepted until November 18. Please refer to the news post and Policy & Abuse's proposed changes for more detail.

II. OCTOBER MEMBERSHIP DRIVE

Development & Membership worked with Communications to announce the October membership drive! With the help of Translation, the news posts were translated into 28 languages. Finance also posted the 2024 Budget Update in anticipation of the membership drive.

The October membership drive raised almost $215,000 USD from 6,995 donors, 6,020 of whom chose to be members! Development & Membership is now verifying addresses, packaging premiums, and heading to local post offices with the help of their new regional shipping specialists.

III. ELSEWHERE AT THE AO3

In September, Support and Systems were handling issues related to downtime and site slowness. Systems has posted a post-mortem of events and analysis on their official AO3 account, which details the causes and effects of some of the issues.

Due to downtime and other factors, Support received 4,151 tickets in September, around double their usual monthly count. They ask for your patience as they work through the high volume of tickets.

Policy & Abuse received 2,264 tickets in September. They also have an incoming class of new volunteers and look forward to training them.

Also in September, Tag Wrangling volunteers wrangled over 430,000 tags, which amounts to over 1,000 tags per tag wrangler. They also finished their last recruitment round of the year and began inducting their latest batch of volunteers.

Open Doors announced the import of older works from due South Seekrit Santa, an exchange devoted to the Canadian television series due South. They also finished the last details from the West of the Moon archive import, an archive for hobbit-centric gen fanworks. They continue to work on other import projects and documentation for the AO3 Fanzine Scan Hosting Project.

IV. VARIOUS OTW ACTIVITY

Communications is happy to see their email delivery service has been steadily gaining followers since its launch. The service recently passed 1,000 subscribers and now has about 1,100 subscribers!

Fanlore ran a Video Game-themed month in October! You can check out featured articles on their Tumblr.

Development & Membership's convention outreach division organized a table for Confabulation Fan Convention at Chicago, USA. OTW volunteers had a blast talking about their experience volunteering, fan vidding, and exploring world landmarks!

Legal has responded to a number of user queries this month, including queries about YouTube counter-notices, shadowcasting, UK legislation, and academic research on fandom. They also dealt with some apps that are confusing users into believing they’re associated with the AO3.

TWC has been preparing two special issues: Centering Blackness in Fan Studies and Sports Fandoms to be released in the coming months.

V. GOVERNANCE

Board and the Board Assistants Team (BAT) organized Board's fourth quarter public meeting on September 29. They had 55 attendees and answered 9 questions. The official minutes for this meeting were voted on and published on the OTW website.

Official Board turnover happened on October 1, and incoming Board members are getting settled in.

Board and BAT have been participating in several projects and policies related to the OTW Organizational Culture Roadmap. BAT has also been working on procurement documentation, OTW website updates, and various cross-committee tasks. They’ve been assisting the Board on several ongoing projects, including Whistleblower Policy FAQ documentation and responding to external questions directed at the Board.

Strategic Planning is working on compiling internal sustainability plans from all committees as part of the plan’s internal sustainability goal. They're also reaching out to the committees responsible for the Paid Staff goal as those implementation goal dates approach.

VI. IT'S ALL ABOUT THE PEEPS

Volunteers & Recruiting has been hard at work training their new recruits and getting them settled in, saying farewell to one of their chairs, Cyn, and welcoming Eevee as the new co-chair. They also conducted recruitment for 3 committees in October: AO3 Documentation, Elections, and Fanlore.

From September 22 to October 22, Volunteers & Recruiting received 149 new requests and completed 135, leaving them with 62 open requests. As of October 22, 2024, the OTW has 924 volunteers. o/ Recent personnel movements are listed below.

New Committee Chairs: Eevee (Volunteers & Recruiting)
New Communications Volunteers: 1 TikTok Team Lead
New Development & Membership Volunteers: 1 Shipping Specialist
New Fanlore Volunteers: 3 Discord Moderators
New Open Doors Volunteers: Brianna Dardin (Senior Technical Volunteer) and 1 Administrative Support Volunteer
New Policy & Abuse Volunteers: Emka, iwasnttrainedforthis, megidola, Trinity, and 3 other Volunteers
New Translation Volunteers: AnneHelena, Aquiles T. M., hans, Helpi K, Jaya, Luki, tritongue, and 2 other Translators
New Volunteers & Recruiting Volunteers: Alisande and 1 other Volunteer

Departing Directors: Kari Dayton and Michelle Schroeder
Departing Committee Chairs: Cyn (Volunteers & Recruiting)
Departing Board Assistant Team Volunteers: 1 Volunteer
Departing Fanlore Volunteers: 1 Policy & Admin Volunteer and 1 Graphics Designer
Departing Open Doors Volunteers: SonoSvegliato (Import Assistant), Brianna Dardin and 2 other Technical Volunteers; 1 Administrative Volunteer
Departing Strategic Planning Volunteers: Arly Guevara
Departing Tag Wrangler Volunteers: Eevee (Supervisor role only), Lysippe, and 7 other Tag Wranglers
Departing Translation Volunteers: Elintiriel (Volunteer Manager role only) and 1 other Volunteer Manager; Nachali, Parul Hunnargikar, Summerfanreader, and 4 other Translators

For more information about the purview of our committees, please access the committee listing on our website.

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The Organization for Transformative Works is the non-profit parent organization of multiple projects including Archive of Our Own, Fanlore, Open Doors, Transformative Works and Cultures, and OTW Legal Advocacy. We are a fan-run, entirely donor-supported organization staffed by volunteers. Find out more about us on our website.

Every month or so the OTW will be doing a Q&A with one of its volunteers about their experiences in the organization. The posts express each volunteer's personal views and do not necessarily reflect the views of the OTW or constitute OTW policy. Today's post is with LPCollins, who volunteers as a Dutch translator and beta reader for the Translation Committee.

How does what you do as a volunteer fit into what the OTW does?

I am part of the Translation committee, more specifically as a translator and beta reader for the Dutch team. (Hallo, iedereen!) I have also recently found my way into the Tag Wrangling committee, but that is all still very new and shiny, so I’ll be focussing on my role in Translation for this post. That role pretty much means that I help with the translation of the AO3 FAQs and tutorials, news posts, email templates and the occasional tag or user ticket that arrives in Dutch, a rare treat when speakers of your language are very accustomed to using English in online spaces. I am very proud of the role that our committee gets to play in diversifying the OTW and slowly but surely making it more accessible for users world-wide. Compared to the userbase speaking Chinese, Spanish or Russian, Dutch may seem like a very tiny, not-so-important piece of that puzzle, but doesn’t that only make it cooler that we can support such languages too?

What is a typical week like for you as a volunteer?

One of my absolute favorite things about the Translation committee is that you get to schedule the work according to your own needs. I am a chaos demon with fluctuating energy levels, so I’m not sure about having a “typical week” and that’s perfectly fine with Translation.

Basically, at some point one of our lovely volunteer managers will send me an assignment, either a document that needs to be translated from scratch or a translation from one of my teammates that I need to beta read. Assignments always have a deadline too, shorter ones for urgent news posts and longer ones for longer documents. Depending on the length of the document, what I need to do with it, my mood and the alignment of the stars, I might do it right away, or spread it out over a week, or just do it on the day of the deadline. Then I let our staff know that I’m done and they send me a new task and so on. There have been weeks when I didn’t complete a single task and there have been days when I completed two, and it just works for me.

What made you decide to volunteer?

Look, I seem to be living in a world where all the paid jobs aren’t very interesting and all the interesting jobs aren’t very paid. (Will take recommendations for other worlds.) Point is, I am always drawn to ways to help organizations that I care about with a hands-on approach. Before I joined the OTW, I was a volunteer for IMAlive’s crisis support chat (big shout-out to Random Acts for providing my training), which I loved doing but unfortunately became too time-consuming when I needed to start working on my master’s thesis. Since I had been spending a lot of time on AO3 for years at that point, the OTW was an easy next target for when I did have some spare time again.

I also have a degree in Dutch and English linguistics and literature, so translator was definitely one of the most appealing OTW positions from the get-go. I distinctly remember waiting for a chance to apply, checking every Translation recruitment post that popped up on AO3 to see if they needed someone for Team Dutch yet, as the committee always recruits for specific languages. As soon as Dutch was listed in one of the posts, I didn’t hesitate about applying, and I was lucky enough to be welcomed to the team. Already two years have passed since then and I haven’t regretted it for a single second.

What has been your biggest challenge doing work for the OTW?

Not gonna lie, I have witnessed some big internal discussions since joining the OTW, both about real-world events and about our own processes. I feel like those have been fought over enough, though, so I’ll share a challenge that’s more specific for Team Dutch.

In case you don’t know, Dutch is an official language in three countries: the Netherlands, Belgium and Suriname. Unfortunately, Suriname isn’t currently represented in our team, but we do have both Belgian and Dutch folks, and despite our countries being right next to each other, there are actually some differences between Belgian Dutch and Dutch… Dutch. (Just ask how we end our emails.) They definitely aren’t big enough to separate the languages, but we do try to walk that middle ground in our translations and make sure that everything sounds good for everyone. So sometimes I will be beta reading a document and change something that just sounds way too Dutch to me and sometimes one of my teammates will point out that they would never use my suggested turn of phrase in the Netherlands. As a linguist, I find this very interesting, but it is also quite challenging to avoid colloquialisms when you’re not even always aware of them!

What fannish things do you like to do?

First and foremost, I’m a fanfic writer. Always have been (even before I knew that there was a word for it) and always will be. As a writer, I also have an atrocious habit and it goes something like this: start a very long fic, pour out new chapters religiously for months and months, stumble upon a different fandom, come up with a fic idea for said new fandom that “surely won’t take long and that I just need to get out of my system so that I can return to the existing WIP in peace” aaaaand repeat. Dear reader, if you happen to be following one of my stories, I am so, so sorry, I swear I will finish it one day.

The love of my life is Supernatural and I will always come back to it, but I’m also very good at falling very hard for other fandoms on the side, ranging from The Boys to Danny Phantom to the latest Neil Gaiman-related show to Helluva Boss to anything that Richard Speight, Jr. worked on. One of my favorite things to do is hyperfixate on something new, then grab my friends by the shoulders and shake them until they agree to watch it too so that I can yell at them about it.

Of course I read fanfics too, mostly in short bursts when I’m looking for a very specific type of fic. For my wallet’s sake, I limit the number of Supernatural conventions I can go to to one per year. I perpetually have a Discord tab open to stay in touch with fellow fans, will occasionally scour YouTube for fanvids and spend the rest of my fandom time on the best social media site ever, Tumblr. (Kidding, not kidding.)

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Now that our volunteer’s said five things about what they do, it’s your turn to ask one more thing! Feel free to ask about their work in the comments. Or if you'd like, you can check out earlier Five Things posts.

The Organization for Transformative Works is the non-profit parent organization of multiple projects including Archive of Our Own, Fanlore, Open Doors, Transformative Works and Cultures, and OTW Legal Advocacy. We are a fan-run, entirely donor-supported organization staffed by volunteers. Find out more about us on our website.

I started this project in October, 2014, so I would have a nice handwork project while traveling for a month in Europe. I love it!!!

A bunch of pre-cut threads and trims, a small package of mixed seed beads/buttons/sequins, a folded piece of felt with various sizes of needles, embroidery scissors, Sue Spargo's book, and 16 wool chicks already stitched to the background wool fit very nicely into a 12 x 9 inch zippered, mesh bag.... perfect to tuck into my backpack! I stitched on the airplanes, in people's homes, and with my beady/quilty friends! At the end of the month, 8 chicks were finished. You can see them here.


Since then, I've been busy making a Travel Diary quilt, and starting another very challenging "Shimmer" quilt, which will be the subject of the next post. However, once in a while, the Chicks are just the right break from machine sewing. Working on them makes me happy and peaceful.


The new ones are in this post... As you can see in the photo below, I still have 2 chicks to embellish, plus one that might need something more.


When all of them are finished, it will be time to decide what to do with them. My idea so far is to make them into a small wall quilt, hand quilting around the chicks, maybe adding a few flowers between some of the chicks.  I'll wait to decide, keeping all options open until the chicks are finished.


Most of the chicks are girls, but so far 3 of them seem to have a bit of testosterone...  can you tell which ones are the boys? You'll need to click on the above picture of all 16 to enlarge it enough to find the boys. If you feel like making a guess, let's give them numbers starting at the top left with 1 and going across row by row. As you can probably tell, the one below is definitely a girly girl!

By the way, the lace trim on the above chick is vintage lace from LaDonne Weinland, an Etsy vendor. It was white, which was too "strong" a color for this piece. So I painted dye on it!!! These are the pieces I painted. To give you an idea of scale, the lace is just under 1/4" wide. The chick, from the bottoms of her feet to the top of her crown, is exactly 3 inches tall.

Threads! 

People ask me where I got all the threads I use for these chicks. Here are some answers...

Variegated pearl cotton. I'd estimate that over half the stitches (all the beaks and feet, most of the edge stitches, tails, and top-knots) are pearl cotton, size 8 or 12. I like using threads that are subtly variegated. DMC and Valdani are two brands of pearl cotton that come in a ball for $5 to $7 per ball. I have purchased some Valdani balls from Sue Spargo and some from this site.

But most of my perle cotton comes from African Folklore Embroidery ... Leora Raikin, the owner, packages hand-dyed, variegated, pearl cotton on cards of three colors, each color about 10 yards in length, for $5.  She has a HUGE selection, from which you can have 24 colors for only $40!!! I love the colors, the subtle changes of colors in the variegation, and the quality of the thread. Here's a page that shows her colors in size 8 pearl cotton... mind boggling!

My photo does not show the full amount you get... only how it is packaged, 3 colors to a card!

Embroidery floss.  For finer stitches and details, I often switch to regular embroidery floss. Again I gravitate toward the variegated colors. DMC has put out a lot of new variegated skeins in recent years. If you have an older supply of solid colors, you might want to check out DMC's 24 new colors. Here's an Etsy seller that offers them. Or, if you are in the Seattle area, Nancy's Sewing Basket (on Queen Anne hill) stocks all of them. They are much more subtle than previous DMC variegated floss choices, more like hand-dyed. Anchor has also added nice options to their line.




I also buy hand-dyed embroidery floss when I see a skein that appeals to me. Again, I like the subtlety of it.

Other threads. Sue Spargo offers a line of variegated silk threads in beautiful colors, which she calls Silken Pearl. I bought some of them from her during the class, and have enjoyed using them. The sheen of the silk is a lovely contrast to the more matte quality of the pearl cotton.

In her book, Sue recommends using a wool thread to applique the wool chicks to the background wool. Since it is quite expensive, I used 60 weight cotton applique/sewing thread by Metler, which I already had in a range of colors. It works fine. If I didn't already have the Metler thread, I probably would have bought a set of Genziana wool threads on bobbins on Etsy, here. This wool thread is a bit too fine for embellishment work, but it's great for wool applique.

Novelty yarns, metallic threads, chenille, dazzle threads, etc. all have their occasional use as well. As I tend to like more matte and less bling, I don't often use these threads. But it's fun to experiment with them. I did use chenille on one of the above chicks... can you find it?

All 16 chicks are finished now, and I've started quilting the piece!!! I'm quilting by hand, using a single strand of non-mercerized (not shiny) thread (Anchor brand), which is about the same weight as size 12 pearl cotton. This is how it looks so far...

While I contemplate how to proceed with the quilting, I thought it might be helpful to share some of the design process with you, especially since a few readers have said they might want to try something like this.

Learning the Stitches - Which Ones to Use and Where to Use Them

Sue Spargo's book, Creative Stitching, was very important in my design process. I didn't know most of the stitches when I started this piece. The instructions in the book are easy to follow, and I was able to learn all that I wanted from the book. More than learning the stitches, the photos in the book allowed me to see how she uses the stitches to embellish her wool applique shapes. Also, she writes about the threads and needles she uses. I followed her suggestions for needles, but did not use many of the threads she mentions.


Layout the Shapes

The wool is felted. I bought already felted (correct term is actually "fulled") wool. But you can make your own by washing wool fabric and drying it in the dryer. Here are some useful instructions for fulling wool fabric.

The first step is to cut out the chicks from felted wool fabrics. (Although I made chicks, the shape could be anything... butterflies, flowers, circles, donkeys...) I used 16 different colors, making each chick a different color. I used "chick colors" for some of the wings; others are from a bag of wool scraps I bought at the La Conner Quilt Festival.

I used 60 wt. cotton sewing thread to applique the chicks to the background fabric. Use a thread color that matches the chick color as closely as possible. Although it's a bit shiny, a single strand of embroidery floss would also work for this task.

Starting to Embellish the Chicks

When I finished appliqueing the chicks to the background wool, they just looked like blobs, barely recognizable as chicks. This is not inspirational for starting to embellish! I found that in order to even want to start, I needed to make them more real, more chick-like. So I gave them all eyes, all 16 of them. That helped a lot, but still they didn't feel real. So I gave them all feet, and then beaks. So as not to get bored, I changed thread color for both beaks and feet. Some of the eyes are made with a button; some with a flower-shaped bead; some with a disc-shaped bead. When all of them had eyes, feet, and beaks, finally they began to be chicks, and I was ready to start!!!

Even so... starting is daunting. I used the same method I use (and teach) for bead embroidery... If you've taken a class from me you've heard me say, "Pick up a bead you love, and sew it on somewhere." That's what I did... picked up a thread I loved, picked a stitch that interested me from Sue's book, picked a chick color that appealed to me at that moment, and started practicing the stitch.

When I finished, I just did the same thing again. Sometimes it was the same chick, sometimes I chose a different chick. I kept picking a thread I liked, usually one I hadn't previously used, a stitch I wanted to learn or really liked, and a chick that seemed "to like" the chosen thread color.

After a while, some of the chicks were fully embellished. Once I learned the stitches and had experimented with various threads, I tended to work on one chick until it was finished. But if  when I got stuck, and couldn't think what to do next with a particular chick, I just moved along to some other chick that appealed to me at that moment.


Another way to get started

If you feel a bit timid about starting, you could make a pincushion, such as I did, shown below. It doesn't take a lot of time or materials, and can give you both practice (particularly in making beaks and feet) and confidence.

Personality

I can't help but think of the chicks as youngsters, maybe early teens, with emerging personalities... each, as I work on it, starts to have a story which plays out in my head while I stitch. Once the story begins, it's easier to choose stitches, design motifs, and threads which further develop the story or personality of that chick. Thinking about the chick's personality and background story, keeps me from getting bored, and makes it really fun to work on the piece.


Thread Hints

I already wrote about threads, adding it to the bottom the previous post (or, scroll down one more post).

What's Next?

As usual, I don't know. I take it one step at a time, trying not to figure it all out before I start. I do what I know to do. If there isn't anything I know to do, then I wait... wait for an idea, for inspiration, for a solution... wait until I know what to do next, but only the next thing... I try to ignore the question of what comes after the next thing. That's what I'm doing now... waiting to know what the next step in the quilting process will be.

This is the first solo exhibition of my work! I am very pleased and honored that the La Conner Quilt & Textile Museum offered me a show in their new Local Artist Exhibit Program's first-floor Landmarks Gallery.

Every Child Should Have Her Own Tree, hand-dyed, beaded, embroidered fabric collage

I hope some of you will be able to come see my work, as well as the work of the other two featured quilt artists in the upper floor galleries.
A couple of readers have contacted me asking if the above work, or any of the other pieces will be for sale...  Nope, afraid not... exhibition only, although the museum's excellent gift shop does carry my books.

As followers may recall, I started hand stitching hexies for a Grandmother's Flower Garden quilt in March, 2012... three years ago. Watching my friend, Christy, basting sweet, reproduction fabrics around paper forms, making little stacks of 3/4-inch hexagons, I just couldn't resist! These Beadlust posts show the various steps to making the quilt top and the start of  hand-quilting in more detail than this post.

Although I'm still hand-quilting, the end is in sight now. I'm hoping to finish in time for our County Fair in August.

In this post, I thought it might interest you to look at how much time it takes to complete each of the steps in hand piecing and quilting a 3/4" hexie quilt, and the total number of hours involved. I'm basing time estimates for all of the repetitive steps on how long it takes me to do a large number in one sitting, after having practiced... in other words, at my best speed.

Step 1 - Planning the Quilt and Getting Fabrics - time: 20 hours

I decided to make a version of the traditional 1930's Grandmother's Flower Garden quilt that is less common than the one with a path or ring around each of the flowers. I chose this design. Note the green hexie leaves, which form a vertical-horizontal grid.


The final size is 72 x 92 inches, a comfortable size for a twin bed, a total of 4,694 hexies. I wanted to use as many different fabrics in this quilt as possible.

• flowers = 280 different print fabrics with any background color except green or white.
• leaves = 150 different print fabrics in green
• flower centers (repeats OK) = 25 different solids
• double border = 1 print + 1 solid

Although I had collected 30's reproduction fabrics for a few years, I certainly needed more. From a selection of fabrics given to me, fabrics purchased in an eBay auction, and my stash, I found enough to make each of the flowers unique. Although there were not enough greens to make the leaves unique, I had about 60 different green prints, such that each is not repeated more than 3 times in the quilt. So, in the end the quilt includes more than 360 unique fabrics!

Step 2 - Wash and Iron all of the Fabrics - time: 15 hours

Yikes! A few of the fabrics I wanted to use were already washed; most were not. Knowing it should be consistent, and worrying that the reds might bleed, I decided to pre-wash and iron all of the fabrics. Doing this step in stages, as I acquired fabrics, I'm not really sure how long it took, perhaps quite a bit more than the above estimate.

Step 3 - Cutting and Trimming all of the Hexies - time: 28 hours

For each of the  4,694 hexies, I cut a 2" square of fabric, and trimmed off the four corners. Of course, I cut and trimmed in multiples, except for a few that I fussy cut individually. Again, since I did this step in stages, the above time estimate is a bit rough.

Step 4 - Basting the Fabric to the Paper Hexie Forms - time: 235 hours

Once I learned that using YLI quilting thread for basting makes it go much faster than using regular sewing thread, I was able to baste 20 hexies per hour.

Step 5 - Stitching Hexies Together to Make Flowers - time: 105 hours

Averaging 2.5 complete flowers per hour, it took me about two and a half 40-hour-work-weeks to whip-stitch all 238 full and 42 partial flowers. There are 14-17 whip-stitches per 3/4 inch seam.

Step 6 - Stitching a White Hexie Ring Around 130 of the Flowers - time: 130 hours

On average, it takes me 1 hour to whip-stitch 12 white hexies around each flower.

Step 7 - Layout Flowers for Quilt Top; Note Position on Each - time: 4 hours

I didn't fuss too much about the layout, spreading out the flowers randomly, making sure the red ones were evenly spaced, and that no areas were overly dominated by one color. Assigning each row a letter and each position within the row a number, I marked each flower on the back (writing on the center paper piece).

Step 7a - Half Flowers and Double Border All Around - time 90 hours

This is an update, added Feb. 2018. (I can't believe I forgot this important step when writing the original time line.) To make 42 partial flowers to fill in the gaps around the edges of the top, I cut fabrics, basted hexies, joined petals, and then stitched the partials into the gaps. To make the outer border, I made 522 individual hexies, stitched them into rows, and then stitched the rows onto the top.

Step 8 - Sew Flowers into Small Groups - time: 90 hours

To assemble the quilt top, I grouped 8-12 flowers, and whip-stitched them into a solid piece. There were 30 pieces, which took about 3 hours each to complete.

Step 9 - Sew Small Groups Together to Complete Quilt Top - time: 123 hours

I first sewed the small groups into rows, then stitched the rows together. As the sections got larger, the stitching took longer, making it difficult to estimate the time with total accuracy. I did a couple of time tests at different stages of the process in order to figure the above total. I completed this step on March 1st, 2013, one year after basting the first hexie.

Step 10 - Iron/Starch Top, Remove Papers and Basting Stitches - time: 33 hours

Removing all the basting stitches and papers took a lot longer than I would have guessed. But when I look at the pile of basting threads, it begins to make sense.

Step 11 - Assemble Quilt Layers, and Baste - time: 12 hours

Christy and Lunnette helped me layout the back, batting, and top on the floor; then baste in a 4 inch grid. I think we pinned it first, then basted, then removed the pins. On our knees for most of the time, it sure was wonderful to have their help!

Step 10 - Quilt and Embroider the Flower Centers - time: 70 hours

Choosing a floss in a similar color to each flower center, I embroidered a flower. Intentionally, some of the stitches act as quilting stitches, while others slip between the layers and don't show on the back. Around the edges of the quilt, it took about 15 minutes per flower center. Toward the middle of the quilt, it took about 20 minutes per flower center.

Step 11 - Quilt Flower Petals - time: 106 hours

Quilting around the petals of each flower requires turning the quilt 270 degrees for each petal, which is why it takes at least 20 minutes per flower, longer toward the middle of the quilt when the whole weight of the quilt must be constantly shifted. There are 238 whole and 42 partial flowers. I'm figuring an average of 25 minutes per whole and 10 minutes per partial flower.

Step 12 - Quilt Around White Rings - time: 65 hours

Like quilting the flower petals, quilting around the outside edge of each of the 130 white rings requires turning the whole quilt as I work, which adds a lot to the time it takes. I believe quilting the entire top in a diagonal grid of straight lines would take about half the time it takes to follow the curved, zig-zagging path of the hexie flowers, leaves, and rings.

Step 13 - Quilt Around Each of the Leaves - time: 79 hours

Not only does this step require turning the quilt as I stitch 360 degrees around each leaf, it also requires knotting and burying the tail at the start and finish of each leaf. Also I'm changing color of thread to more or less match the fabric color for each set of 4 leaves. Around the edge, it takes about 9 minutes per leaf; toward the center 11 minutes per leaf. There are 474 leaves total, at an average of 10 minutes/leaf.

Step 14 - Assemble Hexies for the Border Facing - time: 37 hours

To face the double (print + blue) border on the back of the quilt requires 522 hexies. To sew them together, forming the border strips, takes about 1 hour per 14 hexies.

Step 15 - Trim Backing and Batting; Blind-stitch Facing to Border - time: 13 hours

There are 264 hexies around the outside edge of the quilt top. Since I have not done this step yet, the time estimate (blind-stitching 20 hexies together per hour) is somewhat rough.

Step 16 - Remove Paper Pieces and Basting from Border and Facing - time: 10 hours

Again, since I have not done this step yet, the time estimate is based on the time it took to remove paper pieces and basting threads from the quilt top.

Step 17 - Blind-stitch Facing to Quilt Back - time: 13 hours

Step 18 - Quilt Around Print Fabric Border - time: 13 hours

Step 19 - Blanket Stitch Around Outside Edge of Quilt - time: 10 hours

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Total Time to Complete Hand-Piecing the Quilt Top: 873 hours

This is equivalent to nearly 20 weeks or 5 months on a 40 hours/week job. It took me a year. Mostly the time flew by as I basted and hand-stitched the little hexies together. Always there was a new print to enjoy, a new stack mounting in size to admire, a growing quilt top to thrill me.

Total Time to Complete Hand-Quilting: 428 hours

Since this job isn't completed yet, the time is only a rough estimate, based on the times it took to do some of the already completed steps. In all, hand quilting will take the equivalent to 10 or 11 weeks of full-time work. I find the quilting rather very boring. After taking a break for more than a year, I started working on it again and hope to be finished by August this year. Audio books are the answer to the tedium for me.

Total Time, Start to Finish: 1,301 hours

With Steps15-19 still to complete, the total is a rough estimate. Still, it is obvious that making a quilt like this, start to finish, requires more than 1,300 hours or the equivalent of over 8 months of full time work. If I were to be paid only minimum wages (2015, Seattle, WA - $11/hr.), the cost of the quilt would be $14,311 + about $500 in materials, or a total of $14,800.  Good thing I intend to keep and use it myself!

UPDATE, July 4, 2016

By June, 2015, I completely finished one corner, an area big enough to photograph so I could submit an entry form to the 2015 La Conner Quilt Festival, sponsored by the La Conner Quilt & Textile Museum. On August 7th, 2015, I received notice that it was juried into the show. Wow! That sent me into high gear for sure. After working non-stop, 7 days a week, and an average of 10 hours per day, I inserted my needle into that quilt for the last/final time on Aug. 24th, 2015, just days before delivering it to the museum. It took me 3 years and 3 months, start to finish!


I was surprised, honored, and incredibly pleased to find out it won the Curator's Award of Excellence, one of the top awards, which then qualified it to be shown at the museum for the month following the Festival. Note, the finished size is 71 x 93 inches, and there are 4,700 individual hexagons in it.


Big work for both hands, but sooooo satisfying!


In fact it was so satisfying that I've started another hexie quilt... Can you believe it? So far, I've made 733 hexie flowers for it! Although they are the same size hexies, there are no reproduction fabrics and the arrangement will be anything but traditional. Don't know why I love the hexagon shape so much... but it's certain that I do.

Bringing my beadwork to the Museum

Demonstration prior to the Opening on April 1st.

Exhibition closed - beadwork back home again

Rosie, The Uncaged Hen

La Conner Quilt & Textile Museum

A week of finishing!!! Oh my, it feels good to finish things, doesn't it?!

Last October, I started the applique process, stitching chick bodies and wings cut from felled wool onto the wool background fabric. Seven months later, 16 chicks, embroidered with threads and beads, run free! Please click the picture to enlarge it, so you can enjoy the fanciful details.

If you are new to this process, you can see the various steps and pictures of the chicks on these posts. Of course, they are inspired by Sue Spargo's exhibit at the La Conner Quilt Museum, by her book, Creative Stitching, and by taking a one-day class from her to get me going. Along the way, other books, embroideries, and drawings also inspired me.


As you might guess, most of the chicks have at least a few beads. Here is one with the main motif embroidered with beads.


And, here is one with just a few beads, the center of the "flowers," and one with no beads at all.

Also note that I've quilted the piece with Danish Flower Thread in a shade which closely matches the background color.

At first, I thought it would be pleasing to embellish the areas between the chicks with flowers, vines, and leaves using three close shades of the background color. Here is an example.


It looks OK when you look at just four chicks with the flower/vine motif in the center. But when I had finished 6 of the areas (sorry no photo), some of them with larger spaces and larger vines/leaves, it looked too busy. It took away from the chicks. I couldn't tell if I was supposed to look at the chicks or the flowers. So I picked out the vines and leaves, leaving just the flowers, which weren't such a distraction.


After sewing on the binding, the chicks seemed to need a little warming around them. So I added a line of stem stitch in variegated pearl-cotton in a magenta color. It pleases me!


Oh, and one more thing... This is a quilt, designed to hang on the wall, with lots of details to enjoy as you view it up close. But what happens to wool felt when it is out in the open? MOTH DAMAGE and DUST are the enemies. My solution? Find, buy, or have somebody make a wall-mounted display case, with a hinged door. Hang the quilt inside the case, which remains closed except when somebody wants to take a closer look. The above, found on the internet, is close to what I have in mind, with a white background of course.


What's next in chick-land? Well, my dear niece just got married... Here is the start of her wedding gift... I'll post a finished photo soon.

Oh dear, busy me, four months since I've posted here. Lots of quilting, a little beading, some travels, and recently several sets of house guests have made "retirement" a bit of a joke. For now, since the La Conner Quilt Festival is just around the corner (October 2-4), my subject is one small exhibition on the first floor at the Museum, which is currently up, and will remain through the Festival.

Last year at the Festival (and again this year!) Sue Spargo taught workshops on her wool applique embroidery methods. Those of us who were lucky enough to get in were invited by the Museum to exhibit our finished pieces. These marvelous creations are the subject of this post. Uneven lighting makes it difficult to get good photos, so please forgive poor color or tone on some of these photos.

In case you are unfamiliar with Sue's work, below is an example of her work. Students in her class could choose to make chicks, circles, or flowers. Most chose the chicks. Eight of her students are showing their work in the current exhibit.

My vote for the most awesome-creative piece goes to Bunny Starbuck for She Has Flown the Coop! Here it is:

Having put my chicks all in neat rows similar to Sue's example, I find it amazing that Bunny's mind took the idea and made a whole different story of it... a coop full of chicks, with two in line on the roof ready to follow the one already in the air. Don't you just love the way the lines divide the space?!




Note Bunny's use of whispy yarn to suggest little chick feathers, her use of snaps for eyes, the one chick turned full front, the one with a bead-tassled braid and glasses, and the one with beaded loop fringe and a gathered yellow ribbon (?) yo-yo. I love them! I'm in awe, Bunny!

Below is Chicks on Parade by Dorie Benson. It's so fun the way they are so close together, with two of them going in a different direction, just as you might see in a little cluster of chicks. If you click the photo to enlarge it, you can see some of Dorie's excellent stitching and hand quilting!

The next one is Chicks by Glenys Baker, who not only did all 36 chicks but also made a second quilt featuring circles (shown further down). Awesome work, Glenys!

And next is Birds of a Feather Can Dance Together by Lorraine Jones. The fun of the title is matched by the fun of Lorraine's embellishments, including her border treatment. (You'll have to see this one in person, because the light from a table lamp, made the lower corner of the photo look terrible.)

I guess most of us like to "swim the other way," as you can see in the next piece, Chickadees, by Carrie Unick. I thought many of Corrie's embellishments were especially fun and creative, so I've also included a couple of detail photos.



Last of the chicks is my piece, simply named Chicks. It was so much fun, that I made another small piece (also in the exhibition), shown at the top of this post. Both are displayed in shadow-box type frames to protect them from dust and moth damage.
Glenys Baker, in one year, made not only a 36-chicks quilt (shown above), but also a 48-circles quilt, Circles. How she keeps thinking of new embellishment variations I can't imagine. Yet each of her circles is completely unique! Her choice of border fabrics is perfect for the quilt, complimenting the flow of color among the circles.


I love the fun color combinations and the way the beads enhance her embroidery on Nancy Anders' Bodacious Blooms, a joyful wall quilt if ever there was one! (Again, I couldn't quite get the color right in the photo, so you'll just have to go to the Museum to see it in person.)


The name of Roberta Roberts' flower quilt, Memories, invites us to look closely at the flower with three ladybugs. I don't know the story, but I can tell there is one here... and I love that. Her embellishments are varied and fun as well.



There you have it... 10 quilts by 8 students who learned some methods of wool applique and embroidery from Sue Spargo, last year at the La Conner Quilt Festival. I'm so grateful to be one of them!

If you're a Beadlust reader, you know I worked for three years (more than 1,300 hours) to hand piece, hand embroider, and hand quilt Mama's Garden, with 4,700 3/4-inch hexies, a true labor of love. A big push this spring got it finished in time to enter into the International Quilt Festival in La Conner, WA. Hooray, hooray, the judges accepted it into the show!!!!

This coming weekend, October 2-4, all you quilting enthusiasts will find it rewarding to make the effort and get to La Conner (WA) for the Festival, where you will see an excellent selection of quilts and fiber arts, plus a variety of interesting vendors! Here is the information. Head first for Maple Hall, a huge 2-story building, filled with quilts, at the corner of 1st Street (the main drag) and Douglas Street! Bring your camera, because photos are allowed (at least in the past they were).

What do you think? After all those hours, would it be crazy to even THINK about making another hexie quilt, another one with 3/4-inch hexies? Well, then I guess I'm crazy, because the irresistible call of the hexie hooked me again. And why not re-use the same paper pieces?

This one will not be traditional, and will definitely NOT be hand quilted. It will be hand pieced, using small left-over fabrics (I refuse to call them scraps), cotton prints (but not batiks). I have no idea how I will arrange them, how big it will be, or anything else about how this new project will develop.

The first step was to cut out sets of  2" x 2" squares (6 per set) to make flower petals. So far, I've cut about 130 sets. Here are 80 of them, ready to baste onto the 3/4" paper hexie pieces.

From very small pieces, I cut single 2"  x 2" squares to make flower centers. These I've already basted to the paper hexie pieces.

After basting some of the petals and centers, I started choosing centers for the petal sets. This part is fun! I enjoy "auditioning" various centers until one of them seems right. I'm avoiding high value contrast between petals and centers, because I might want to do a color study with them (no borders).

When the urge gets really strong, I allow myself to start stitching the hexies together to make flowers.

This quilt will probably have about 650 flowers! I've cut 130 so far, each different. I cut flower petals from all of my small pieces, every one. My preference is to have all 650 flowers different.

Sooooooo, if YOU have some small fabric pieces you'd be willing to donate, I'd love to have part of you in my quilt. This is what I need:

The quilting community is awesomely generous!!!  Thanks to all who have sent me scraps for making hexie flowers:


I really understand and appreciate that it takes time to sort through your scraps, selecting some that you feel might work for me, packing them to send, getting them to the post office. In some cases, you even took time to cut them into 2" squares for me... WOW! Bless your hearts!

The most interesting thing is that all the fabrics I've received so far are ones I might have picked myself, yet so far there are no duplicates. As of Oct. 19th, I have cut petal sets for about 650 flowers (from my own scraps and fat quarter stash, as well as scraps I've received from other quilters), all of them unique! That's about 90% of what I need to make the quilt, and certainly enough to keep me busy for a looooooong time. It will probably take me a year or so to baste and stitch all of the flowers, although I admit to going at it with a lot of gusto.

During the past 28 years of stitching beads on cloth, I've veered away from making necklaces, bracelets, and bags or purses, mostly producing wall art pieces. Thus, I've had lots of opportunities to experiment with various methods of finishing and framing my work, making it suitable for display.


I always leave ample fabric margins surrounding the actual beaded area, giving me lots of options for finishing or framing.  One simple finishing method is to wrap the extra fabric around the sides of a manufactured painting-canvas (over stretcher-bars), and lace the fabric snugly across the back, as in the photo below.


But the problem with this method, of course, is that the surface of the beading is exposed to dust and air-borne grime, which over the years may spoil the fresh look of the beading, aging the piece prematurely. So we look to frames and glass to protect our work.

Among the various methods for covering (and protecting) beadwork with glass, the following is the one I use most frequently, and like the best.  It's not very expensive, or particularly difficult, although it does take a bit of time. Even if you already know about frames, please take a look at the section called Preparing Your Bead Embroidery for Framing in the Tutorial below.

Tutorial: How to Frame bead Embroidery

Choosing a Frame

Oh dear, I'm sorry to have neglected posting here for so long. Although many suitable topics and photos have passed through my mind and camera, there just hasn't seemed to be a nice chunk of time available for putting it all together. Today is the day to begin again!

Inspired by Alice, by Marilyn Lidstrom Larson of Willow City, ND (detail of border)

For the past two months, it's been all about quilts and quilting for me, with beading taking a bit of a back seat for a while. My quilt and travel buddy, Lunnette, and I flew to Ontario, California for The Road to California, which is a ginormous quilt show with more than 1,000 quilts on exhibition and over 200 vendors. We gawked (and spent all of our allotted budget) for 3 whole days, barely noticing our fatigue and sore footies.

There are several intriguing subjects to cover, inspired by our experiences there. Today's post is about traditional applique and machine quilting.

Inspired by Alice, by Marilyn Lidstrom Larson of Willow City, ND photo credit (for this photo only): Road 2 CA

Inspired by Alice, by Marilyn Lidstrom Larson, detail showing back

Inspired by Alice, by Marilyn Lidstrom Larson, detail of center

Inspired by Alice, by Marilyn Lidstrom Larson, detail of center quilting

Inspired by Alice, shown in the photos above, won the first prize of $1,000 in the Traditional, Wall, Applique category of the main (judged) exhibit! Take a moment to study the pictures, click on them to enlarge them, notice the way the applique and machine quilting compliment each other. Also think about what this might have looked like if the maker, Marilyn Lidstrom Larson, had hand-quilted her work the way Alice, her grandmother (and inspiration for the central portion of the quilt), would have done. I love this quilt, totally love it, and believe it deserved the award it received.

At the same time, it saddens me that in all the juried/judged shows I've seen (and entered) recently, there is no category specifically for hand sewn quilts... quilts which are hand-pieced, hand-appliqued, hand-embroidered, and/or hand-embellished, and finished with hand-quilting. Nope, hand-sewn quilts are judged right along with machine-sewn quilts. In my observation, machine-quilted pieces are the ones that win almost all the prizes, even in the traditional categories. Why is that? Is hand-quilting considered passe, a thing of our grandmothers' time? Is it because machine-quilting has more pizzazz in the viewers' and makers' eyes? Is it because the machine manufacturers are huge financial supporters of these shows and providers of much of the prize money? Is it because the machine manufacturers run the training programs for judges?

OK, let's look into this subject a bit more. Later, I'll tackle the subject of the influence of the machine manufacturers. For now let's consider this question:

Does machine-quilting enhance quilts that are otherwise hand-sewn?

I started cutting scraps of fabric to make hexie flowers on September 1, 2015. After 9 months of labor, I have just finished stitching the 733rd flower!  I'll do the math for you... That's 5,131 hexies. They are small ones, 3/4 inch per side. The finished flowers measure just under 4" in diameter.


To give you an idea, this is what 44 hexie flowers look like. In case you don't know, for each hexie, the fabric is cut, and then basted over a paper, hexagon-shaped form. The hexies are then hand-stitched together to make the flowers. It takes about 1 hour to make one hexie flower, start-to-finish; thus 44 hours to make the batch above. Click the photo to see better detail of this process, which is called English paper piecing.


And here are all 733 hexie flowers! Each flower is a different fabric. Although a few of the flower petal fabrics were also used for flower centers, I'm certain that there are over 1,000 different fabrics used in these flowers.

What's next? Well, I'm going to build a design wall using sound-proofing foam-board covered with a king-sized flannel sheet. I haven't quite figured out how to make it yet.

When the design wall is ready, I'll get out my hexie flowers and start to "paint" with them. Who knows what will emerge? Not me. I only have a vague idea that I might want to try "painting" an abstract view of our island shoreline.

When the "painting" process is finished, I'll stitch the flowers together in small groups, and then stitch the groups together. The result, hopefully in my lifetime, will be a queen-sized, non-traditional style, hexie quilt!

Thanks to everybody who shared scraps of fabric for me to use!

*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *

For those interested, here is a link to a "time study" and photos of my previous hexie quilt, Mama's Garden!

 

It All Started with Hexie-lust!

Getting Hooked on Crochet

Original Crochet-Along, Frida's Flowers

Bored with making 6 identical flowers - Colors calling us!

Designing Our Afghans

Entering at the San Juan County Fair

Charles (Charlie) Tennyson has been appointed Princeton’s new director of Transportation and Parking Services following a national search to fill the position. He previously served for five years as deputy director of the department.

Gilbert Harman, the James S. McDonnell Distinguished University Professor of Philosophy, Emeritus, died at his home in Princeton on Nov. 13 after a long illness with Alzheimer’s. He was 83.

The new producing artistic director of the theater and music theater season at the arts center sat for an interview for our ‘What I think’ series.

Eric Franklin Wood, a world-renowned hydrologist who did groundbreaking work in drought prediction and served on the Princeton faculty for 43 years, died from cancer in Brooklyn, New York, on Nov. 3. He was 74.

The Princeton microbiologist has also created a non-infectious version of the COVID-19 virus that researchers can study safely.

Tanyaradzwa Tawengwa, a Princeton alumna and current Hodder Fellow who's a composer, vocalist and scholar, has come full circle since the day she sat in a McCarter audience 10 years ago and made a wish to one day be up on that stage. 

In honor of his parents, Chemistry Nobel Laureate David MacMillan has founded The May and Billy MacMillan Foundation to provide educational opportunities for financially disadvantaged students in Scotland.

Austin Newton, a founding member of the Department of Molecular Biology, established a new experimental system and mentored generations of undergraduates, graduate students and postdoctoral fellows. He died May 13 in Princeton at age 85.

As the James Webb Space Telescope delights stargazers with breathtaking images and groundbreaking discoveries, we connected with Princeton astrophysics luminaries Gillian “Jill” Knapp and Neta Bahcall, both contributors to a new book by women astronomers.

Simon Morrison, author of the new musical biography "Mirror in the Sky,” is a professor of music and Slavic languages and literatures, and a sought-after lecturer in the humanities.

The book joins others by Princeton faculty on The New Yorker list of the year’s best. Jarrett gives a talk at Labyrinth Books on Thursday, Nov. 3.

Morgan's paper on plate tectonics revolutionized the field of geology in the late 1960s. He taught at Princeton from 1966 to 2004.

Laurie joined the Princeton faculty in 1966 and transferred to emeritus status in 2000.

Two full professors and four assistant professors have been newly appointed to the Princeton University faculty.

The Princeton University Board of Trustees has approved the appointment of 14 faculty members, including two full professors, two associate professors and 10 assistant professors.

The Princeton University Board of Trustees has approved the appointment of 22 faculty members, including five full professors, one associate professor and 16 assistant professors.

The Program in Visual Arts presents an exhibition of recent work created by students in the fall course, "Painting I," taught by Pam Lins and Colleen Asper. Gallery Hours: Weekdays, 7 AM-8:30 PM; Weekends, 9 AM-8:30 PM.

A lecture on the legacy of Catholic women in the arts and sciences.

Exhibition co-curated by Princeton professor Deana Lawson and Michael Famighetti, editor-in-chief of Aperture magazine. Featuring work by 23 artists who explore the poetics of photography, its instability, and its latent potential. Hurley Gallery open daily 10 AM - 8 PM. Gallery closed 11/28-12/1 for Thanksgiving; reopens 12/2-5.

The Program in Visual Arts presents an exhibition of recent work created by students in the fall course, "Painting I," taught by Pam Lins and Colleen Asper. Gallery Hours: Weekdays, 7 AM-8:30 PM; Weekends, 9 AM-8:30 PM.

The Program in Visual Arts presents an exhibition of recent work created by students in the fall course, "Painting I," taught by Pam Lins and Colleen Asper. Gallery Hours: Weekdays, 7 AM-8:30 PM; Weekends, 9 AM-8:30 PM.

The dean and associate dean of Religious Life and the Chapel lead the Sunday ecumenical Christian service in the Chapel, which features the magnificent Chapel Choir, the Mander-Skinner organ, preachers from around the country and the world, and a warm and welcoming community of worshipers. All are welcome!

Exhibition co-curated by Princeton professor Deana Lawson and Michael Famighetti, editor-in-chief of Aperture magazine. Featuring work by 23 artists who explore the poetics of photography, its instability, and its latent potential. Hurley Gallery open daily 10 AM - 8 PM.

The Program in Visual Arts presents an exhibition of recent work created by students in the fall course, "Painting I," taught by Pam Lins and Colleen Asper. Gallery Hours: Weekdays, 7 AM-8:30 PM; Weekends, 9 AM-8:30 PM.

The Program in Visual Arts presents an exhibition of recent work created by students in the fall course, "Painting I," taught by Pam Lins and Colleen Asper. Gallery Hours: Weekdays, 7 AM-8:30 PM; Weekends, 9 AM-8:30 PM.

Exhibition co-curated by Princeton professor Deana Lawson and Michael Famighetti, editor-in-chief of Aperture magazine. Featuring work by 23 artists who explore the poetics of photography, its instability, and its latent potential. Hurley Gallery open daily 10 AM - 8 PM.

The Program in Visual Arts presents an exhibition of recent work created by students in the fall course, "Painting I," taught by Pam Lins and Colleen Asper. Gallery Hours: Weekdays, 7 AM-8:30 PM; Weekends, 9 AM-8:30 PM.

The Program in Visual Arts presents an exhibition of recent work created by students in the fall course, "Painting I," taught by Pam Lins and Colleen Asper. Gallery Hours: Weekdays, 7 AM-8:30 PM; Weekends, 9 AM-8:30 PM.