This is Part 2 in a series about how I made the Mongolian spread for my new picture book. Photographs of my stitched bas-relief scenes will be printed in MY BED: Enchanting Ways to Fall Asleep around the World. Here are links to posts about making other illustrations for the book: South America, Japan, North Africa, Ghana, Russia, Scandinavia, North America, Holland, Iran, and Afghanistan. To see a list of all my books, click here.
Update: Signed copies of My Bed can ordered in my shop here. 40 pages, 9″ x 9″, words by Rebecca Bond, pictures by Salley Mavor, published by Houghton Mifflin Harcourt. ISBN 978-0-544-94906-5
Art Exhibition: An accompanying national tour of the original artwork reproduced in the book will debut at the Cahoon Museum of American Art in Cotuit, Massachusetts from Sept. 11 – Dec. 19, 2020. Information about the exhibition is on this page.
Part 1 looks at the process of making the yurt or ger, sheep, and plants in the Mongolian scene. This Part 2 will focus on the creating the door.
When researching the yurts or gers in Mongolia, I was impressed with the bold and beautiful doors. They are made of wood panels painted with traditional geometric motifs in predominately primary colors. For my design, I referenced several doors I saw in photos, combining the squares and triangles to make a pattern I liked.
I don’t remember exactly how I transferred the design from paper to the felt, but it probably involved a ruler and eyeballing it with a chalk fabric pencil. The red basting stitches mark where panels will later be placed on top. I colored in the patterns with chain stitched rows of cotton flower thread. The yellow triangles are made with fly stitches.
Stitching patterns like this is the closest I get to doing old-style embroidery. It feels as calming as coloring in between the lines in a coloring book.
To replicate the wood panels, I cut strips of felt and outlined them with blanket stitches. To make them firm, I edged the panels with wire, which I covered over with stitches.
For the door’s hardware, I poured through my collection of hooks and eyes until I found some of the right scale.
I sewed them in place back to back, so they looked like door hinges.
In the research photos, I often saw red flags flying on poles near the doorways. To make mine, I cut the corner off of an old red hankie that had delicate white edging. I then finished off the other two sides. I added wire around the outside edge so that it could be bent to look like a flag flapping in the wind.
If you’ve followed me for a while, you will have noticed that besides fabric, thread and beads, wire is an essential component of my artwork. I use it as a structural framework to keep limp materials upright and to form free-standing shapes.
Another feature of the doors is a hanging rope-like pull. To make one, I braided strands of pima cotton.
Please stay tuned for Part 3 in this series, which will be about making the child and the interior of the Mongolian yurt or ger.
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I always have been intrigued with yurts. I remember seeing how the fiber (I believe goat hair) was processed and felted by dragging it on the ground with horses in an edition of National Geographic.
To me your work is incredible! I admire your research and every stitch. I can hardly wait for the
Book. Thanks for sharing on emails.
Wow Salley, besides the wonderful pictures of your creations in this post, there is lots of exciting news!
Congratulations on your award. That is quite an achievement!
September 8 is so close. I can’t wait to have your book in my hands and to feast my eyes on it.
I’m thrilled that the museum will put the display online! I would so love to see it!
You must be exhausted from all this work, but I sure thank you for it! I’ve loved this journey of watching your progress on this wonderful book!