A Medical Student Creates Intricate Anatomical Embroideries of the Brain, Heart, Lungs & More

My first thought upon see­ing the del­i­cate, anato­my-based work of the 23-year-old embroi­dery artist and med­ical stu­dent Emmi Khan was that the Girl Scouts must have expand­ed the cat­e­gories of skills eli­gi­ble for mer­it badges.

(If mem­o­ry serves, there was one for embroi­dery, but it cer­tain­ly didn’t look like a cross-sec­tioned brain, or a sinus cav­i­ty.)

Clos­er inspec­tion revealed that the cir­cu­lar views of Khan’s embroi­deries are not quite as tiny as the round badges stitched to high achiev­ing Girl Scouts’ sash­es, but rather still framed in the wood­en hoops that are an essen­tial tool of this artist’s trade.

Meth­ods both sci­en­tif­ic and artis­tic are a source of fas­ci­na­tion for Khan, who began tak­ing needle­work inspi­ra­tion from anato­my as an under­grad study­ing bio­med­ical sci­ences. As she writes on her Mol­e­c­u­lart web­site:

Sci­ence has par­tic­u­lar meth­ods: it is fun­da­men­tal­ly objec­tive, con­trolled, empir­i­cal. Sim­i­lar­ly, art has par­tic­u­lar meth­ods: there is an empha­sis on sub­jec­tiv­i­ty and explo­ration, but there is also an ele­ment of reg­u­la­tion regard­ing how art is cre­at­ed… e.g. what type of nee­dle to use to embroi­der or how to prime a can­vas.

The pro­ce­dures and tech­niques adopt­ed by sci­en­tists and artists may be very dif­fer­ent. Ulti­mate­ly, how­ev­er, they both have a com­mon aim. Artists and sci­en­tists both want to 1) make sense of the vast­ness around them in new ways, and 2) present and com­mu­ni­cate it to oth­ers through their own vision. 

A glimpse at the flow­ers, intri­cate stitch­es, and oth­er dain­ties that pop­u­late her Pin­ter­est boards offers a fur­ther peek into Khan’s meth­ods, and might prompt some read­ers to pick up a nee­dle them­selves, even those with no imme­di­ate plans to embroi­der a kary­otype or The Cir­cle of Willis, the cir­cu­lar anas­to­mo­sis of arter­ies at the base of the brain.

The Cardiff-based med­ical stu­dent delights in embell­ish­ing her thread­ed obser­va­tions of inter­nal organs with the occa­sion­al dec­o­ra­tive element—sunflowers, posies, and the like…

She makes her­self avail­able on social media to answer ques­tions on sub­jects rang­ing from embroi­dery tips to her rela­tion­ship to sci­ence as a devout Mus­lim, and to share works in progress, like a set of lungs that embody the Four Sea­sons, com­mis­sioned by a cus­tomer in the States.

To see more of Emmi Khan’s work, includ­ing a down­load­able anatom­i­cal flo­ral heart embroi­dery pat­tern, vis­it Mol­e­c­u­larther Insta­gram page, or her Etsy shop.

via Colos­sal

Relat­ed Con­tent:

Behold an Anatom­i­cal­ly Cor­rect Repli­ca of the Human Brain, Knit­ted by a Psy­chi­a­trist

An Artist Cro­chets a Life-Size, Anatom­i­cal­ly-Cor­rect Skele­ton, Com­plete with Organs

Watch Nina Paley’s “Embroi­der­ma­tion,” a New, Stun­ning­ly Labor-Inten­sive Form of Ani­ma­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Feb­ru­ary 3 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates New York: The Nation’s Metrop­o­lis (1921). Fol­low her @AyunHalliday.

A Visual Introduction to Kintsugi, the Japanese Art of Repairing Broken Pottery and Finding Beauty in Imperfection

Kintsu­gi, the Japan­ese art of join­ing bro­ken pot­tery with gleam­ing seams of gold or sil­ver, cre­ates fine art objects we can see as sym­bols for the beau­ty of vul­ner­a­bil­i­ty. Sure­ly, these bowls, cups, vas­es, etc. remind of us Leonard Cohen’s oft-quot­ed lyric from “Anthem” (“There is a crack in every­thing, that’s how the light gets in.”) Writer and artist Austin Kleon touch­es on this same sen­ti­ment in a recent post on his blog. “The thing I love the most about Kintsu­gi is the vis­i­ble trace of heal­ing and repair—the idea of high­light­ed, glow­ing scars.”

Kintsu­gi, which trans­lates to “gold­en join­ery,” has a his­to­ry that dates back to the 15th cen­tu­ry, as Col­in Mar­shall explained in a pre­vi­ous post here. But it’s fas­ci­nat­ing how much this art res­onates with our con­tem­po­rary dis­course around trau­ma and heal­ing.

“We all grow up believ­ing we should empha­size the inher­ent pos­i­tives about our­selves,” writes Mar­shall, “but what if we also empha­sized the neg­a­tives, the parts we’ve had to work to fix or improve? If we did it just right, would the neg­a­tives still look so neg­a­tive after all?”

A key idea here is “doing it just right.” Kintsu­gi is not a warts-and-all pre­sen­ta­tion, but a means of turn­ing bro­ken­ness into art, a skill­ful real­iza­tion of the Japan­ese idea of wabi-sabi, the “beau­ty of things imper­fect, imper­ma­nent, and incom­plete,” as Leonard Koren writes in Wabi-Sabi for Artists, Design­ers, Poets & Philoso­phers. Objects that rep­re­sent wabi-sabi “may exhib­it the effects of acci­dent, like a bro­ken bowl glued back togeth­er again.” In kintsu­gi, those effects are due to the artist’s craft rather than ran­dom chance.

When it comes to heal­ing psy­chic wounds so that they shine like pre­cious met­als, there seems to be no one per­fect method. But when we’re talk­ing about the artistry of kintsu­gi, there are some—from the most refined arti­san­ship to less rig­or­ous do-it-your­self techniques—we can all adopt with some suc­cess. In the video at the top, learn DIY kintsu­gi from World Crafted’s Robert Mahar. Fur­ther up, we have an inten­sive, word­less demon­stra­tion from pro­fes­sion­al kintsu­gi artist Kyoko Ohwa­ki.

And just above, see psy­chol­o­gist Alexa Alt­man trav­el to Japan to learn kintsu­gi, then make it “acces­si­ble” with an expla­na­tion of both the phys­i­cal process of kintsu­gi and its metaphor­i­cal dimen­sions. As Alt­man shows, kintsu­gi can just as well be made from things bro­ken on pur­pose as by acci­dent. When it comes to the beau­ti­ful­ly flawed fin­ished prod­uct, how­ev­er, per­haps how a thing was bro­ken mat­ters far less than the amount of care and skill we use to join it back togeth­er.

Relat­ed Con­tent:

Kintsu­gi: The Cen­turies-Old Japan­ese Craft of Repair­ing Pot­tery with Gold & Find­ing Beau­ty in Bro­ken Things

The Philo­soph­i­cal Appre­ci­a­tion of Rocks in Chi­na & Japan: A Short Intro­duc­tion to an Ancient Tra­di­tion

Wabi-Sabi: A Short Film on the Beau­ty of Tra­di­tion­al Japan

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

20+ Knitters and Crochet Artists Stitch an Astonishing 3‑D Recreation of Picasso’s Guernica

Soft­ness is per­haps not the first qual­i­ty that springs to mind when one imag­ines recre­at­ing the chaos and anguish of Picasso’s Guer­ni­ca in a 3‑dimensional rep­re­sen­ta­tion.

Though how else to describe the pri­ma­ry medi­um of the urban knit­ting group Sul filo dell’arte?

More than 20 fiber artists worked for over a year, metic­u­lous­ly cro­chet­ing embroi­der­ing and knit­ting the most famil­iar ele­ments of the paint­ing as stand-alone fig­ures, to mark the eight­i­eth anniver­sary of the bomb­ing of the small Span­ish town depict­ed in the 1937 mas­ter­piece.

Stu­dents from the State Art School of the Roy­al Vil­la of Mon­za con­tributed the frame­works over which the fiber pieces were stretched.

The result, Guer­ni­ca 3D, was lat­er dis­played as part of Meta­mor­pho­sis, a Picas­so-themed exhi­bi­tion at the Roy­al Palace in Milan.

A look at Sul filo dell’arte’s Insta­gram page reveals that Picas­so is not the only artist to inspire their nee­dles. Fri­da KahloMagritteKei­th Har­ingAndy Warhol, and Vin­cent Van Gogh are among those to whom they have paid painstak­ing woolen trib­ute.

Relat­ed Con­tent:

What Makes Guer­ni­ca So Shock­ing? An Ani­mat­ed Video Explores the Impact of Picasso’s Mon­u­men­tal Anti-War Mur­al

The Gestapo Points to Guer­ni­ca and Asks Picas­so, “Did You Do This?;” Picas­so Replies “No, You Did!”

Behold an Anatom­i­cal­ly Cor­rect Repli­ca of the Human Brain, Knit­ted by a Psy­chi­a­trist

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Jan­u­ary 6 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Cape-Cod­di­ties (1920) by Roger Liv­ingston Scaife. Fol­low her @AyunHalliday.

“Don’t Try”: The Philosophy of the Hardworking Charles Bukowski

If Charles Bukows­ki were alive today, what would you ask him? Best to avoid the stan­dard ques­tions put to writ­ers about how or why they chose to become writ­ers — not just because Bukows­ki would sure­ly respond with a few col­or­ful­ly choice words of dis­missal, but because he embod­ied the lack of choice that char­ac­ter­izes the life of every seri­ous cre­ator. Accord­ing to the Pur­suit of Won­der video essay above, Bukows­ki dropped out of col­lege halfway through in order to write. After a peri­od spent “bounc­ing around the Unit­ed States, doing short-term blue-col­lar jobs while writ­ing hun­dred of short sto­ries,” none of which broke him into the lit­er­ary big time, came a high­ly unpro­duc­tive peri­od of blue-col­lar jobs with­out the accom­pa­ny­ing writ­ing.

At the end of a writ­ing-free decade, Bukows­ki “near­ly died from a seri­ous bleed­ing ulcer.” This got him back on track, as brush­es with mor­tal­i­ty tend to do: he sub­se­quent­ly quit his job at the post office and returned to writ­ing full-time. It was only a few years before he went back to work at the post office, but this time he kept writ­ing, putting in the real work at the type­writer before each shift at the day job. He did so with­out the prospect of suc­cess any­where in the off­ing, at least not before he reached mid­dle age. “It took Bukows­ki years and years of writ­ing and toil­ing and try­ing to final­ly have cir­cum­stances work out in his favor so he could gain trac­tion and find suc­cess as a writer,” says the video’s nar­ra­tor. And yet, as we’ve pre­vi­ous­ly not­ed here at Open Cul­ture, into Bukowski’s grave­stone are chis­eled these words: “Don’t try.”

“How could a man who became suc­cess­ful in ful­fill­ing his idea of him­self — a man who, although it took a while, found immense respect and recog­ni­tion for his craft, all because of his relent­less try­ing — how could this man leave the words don’t try as his final offer­ing?” We might inter­pret them in light of a let­ter from Bukows­ki to a friend, the writer and pub­lish­er William Packard. “Too many writ­ers write for the wrong rea­sons,” declared Bukows­ki. “They want to get famous or they want to get rich or they want to get laid by the girls with the blue­bells in their hair… When every­thing goes best, it’s not because you chose writ­ing, but because writ­ing chose you.” Bukows­ki did­n’t decide to be a writer; nobody actu­al­ly ded­i­cat­ed to a pur­suit ever had to decide which pur­suit it would be.

“We work too hard. We try too hard,” Bukows­ki writes to Packard. “Don’t try. Don’t work. It’s there. Look­ing right at us, aching to kick out of the closed womb.” He may have meant, as the video’s nar­ra­tor puts it, that “if you have to try to try, if you have to try to care about some­thing or have to try to want some­thing, per­haps you don’t care about it, and per­haps you don’t want it.” And “if the thought of not doing the thing hurts more than the thought of poten­tial­ly suf­fer­ing through the process, if the thought of a life with­out it or nev­er hav­ing tried it at all ter­ri­fies you, if it comes to you, through you, out of you, almost as if you’re not try­ing, per­haps Bukows­ki might say here, try, and ‘if you’re going to try, go all the way.’ ” That quote comes from Bukowski’s nov­el Fac­to­tum — the sto­ry of a writer in search of blue-col­lar work that won’t get in the way of his one true craft — and we might do well to take it one sen­tence fur­ther: “Oth­er­wise, don’t even start.”

Relat­ed Con­tent:

“Don’t Try”: Charles Bukowski’s Con­cise Phi­los­o­phy of Art and Life

Inspi­ra­tion from Charles Bukows­ki: You Might Be Old, Your Life May Be “Crap­py,” But You Can Still Make Good Art

Charles Bukows­ki Explains What Good Writ­ing and the Good Life Have in Com­mon

Is Charles Bukows­ki a Self-Help Guru? Hear Five of His Bru­tal­ly Hon­est, Yet Odd­ly Inspir­ing, Poems and Decide for Your­self

Charles Bukows­ki Explains How to Beat Depres­sion: Spend 3–4 Days in Bed and You’ll Get the Juices Flow­ing Again (NSFW)

Charles Bukows­ki Reads His Poem “The Secret of My Endurance” 

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

What to Wear to a Successful PhD Thesis Defense? A Skirt’s Worth of Academic Rejection Letters

Some peo­ple are par­a­lyzed by rejec­tion.

Oth­ers, like Michi­gan State University’s Earth and Envi­ron­men­tal Sci­ences PhD can­di­date, Caitlin Kir­by, sport rejec­tion like a man­tle of hon­or… or more accu­rate­ly, a pleat­ed skirt falling to just below mid-thigh.

“Suc­cess­ful­ly defend­ed my PhD dis­ser­ta­tion today!” Kir­by wrote in a Tweet that has since gar­nered over 25,000 likes. “In the spir­it of acknowl­edg­ing & nor­mal­iz­ing fail­ure in the process, I defend­ed in a skirt made of rejec­tion let­ters from the course of my PhD.”

The cus­tom gar­ment, which Kir­by teamed with a dark blaz­er and red waist­band, was orga­nized in two tiers, with a tulle ruf­fle peep­ing out beneath.

MSU’s Career Ser­vices Network’s Direc­tor of Employ­er Rela­tions, Karin Han­son, told the Lans­ing State Jour­nal that rejec­tion comes as a shock to many high achiev­ing MSU stu­dents.

Kirby’s deci­sion to upcy­cle 17 dis­ap­point­ing let­ters received over the course of her aca­d­e­m­ic career was par­tial­ly inspired by a Parks and Recre­ation episode in which the skirt of Leslie Knope’s wed­ding dress is a wear­able col­lage of news­pa­per arti­cles about the char­ac­ter, drawn from ear­li­er episodes

More to the point, Kirby’s skirt is part of an ongo­ing cam­paign to acknowl­edge rejec­tion as a nec­es­sary, if painful, part of aca­d­e­m­ic growth.

The whole process of revis­it­ing those old let­ters and mak­ing that skirt sort of remind­ed me that you have to apply to a lot of things to suc­ceed. It seems coun­ter­in­tu­itive to wear your rejec­tions to your last test in your Ph.D, but we talked about our rejec­tions every week and I want­ed them to be a part of it.

And, as she lat­er not­ed in a tweet:

Accep­tances and rejec­tions are often based on the tra­di­tion­al val­ues of acad­e­mia, which excludes POC by not valu­ing the approach­es, research ques­tions, and expe­ri­ences that POC tend to bring to their work.

Kirby’s let­ters were culled from a vari­ety of sources—scholarship appli­ca­tions, sub­mis­sions to aca­d­e­m­ic jour­nals, and pro­pos­als for con­fer­ence pre­sen­ta­tions.  Unfor­tu­nate­ly and We regret to inform you are recur­rent motifs. About 8 let­ters were left on the cut­ting room floor.

But she is pre­pared to low­er her hem­line, when she starts apply­ing for jobs, fol­low­ing a stint at the Research Insti­tute for Urban and Region­al Devel­op­ment in Dort­mund, Ger­many, the result of a suc­cess­ful Ful­bright appli­ca­tion.

Fol­low Kirby’s exam­ple and turn your tem­po­rary set­backs into a pow­er skirt, using the tuto­r­i­al above.

via Boing Boing 

Relat­ed Con­tent:

Read Rejec­tion Let­ters Sent to Three Famous Artists: Sylvia Plath, Kurt Von­negut & Andy Warhol

T.S. Eliot, as Faber & Faber Edi­tor, Rejects George Orwell’s “Trot­skyite” Nov­el Ani­mal Farm (1944)

Gertrude Stein Gets a Snarky Rejec­tion Let­ter from Pub­lish­er (1912)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Decem­ber 9 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain, res­ur­rects Dennison’s Christ­mas Book (1921). Fol­low her @AyunHalliday.

The Benefits of Boredom: How to Stop Distracting Yourself and Get Creative Ideas Again

Here in the 21st cen­tu­ry, we have con­quered bore­dom. Impres­sive though that achieve­ment may be, it has­n’t come with­out cost: As with many oth­er con­di­tions we’ve man­aged to elim­i­nate from our lives, bore­dom now looks to have been essen­tial to full human exis­tence. Has our real­i­ty of on-demand dis­trac­tions, tai­lored ever more close­ly to our impuls­es and desires, robbed us of yet anoth­er form of every­day adver­si­ty that built up the char­ac­ter of pre­vi­ous gen­er­a­tions? Per­haps, but more impor­tant­ly, it may also have dried up our well of cre­ativ­i­ty. The frus­tra­tion that descends on us when try­ing to come up with new ideas; the itch we feel, when­ev­er we start doing some­thing, to do some­thing else; our inabil­i­ty to go more than a few min­utes with­out look­ing at our phones: we can hard­ly assume these mod­ern prob­lems are unre­lat­ed.

“When you’re bored, you tend to day­dream, and your mind wan­ders, and this is a very, very impor­tant part of the cre­ative process,” says psy­chol­o­gist San­di Mann in the ani­mat­ed BBC REEL video at the top of the post. “If you find that you’re stuck on a prob­lem, or you’re real­ly wor­ried about some­thing and can’t seem to find a way out, take some time out. Just be bored. Let your mind wan­der, and you might just find that a cre­ative solu­tion will pop into your head.”

But we’ve fall­en into the habit of “swip­ing and scrolling our bore­dom away,” seek­ing “a dopamine hit from new and nov­el expe­ri­ences” — most often dig­i­tal ones — to assuage our fears of bore­dom. And the more such stim­u­la­tion we get, the more we need, mean­ing that, “para­dox­i­cal­ly, the way to deal with bore­dom is to allow more of it into our life.”

“Once you start day­dream­ing and allow your mind to real­ly wan­der,” Mann says, “you start think­ing a lit­tle bit beyond the con­scious, a lit­tle bit into the sub­con­scious, which allows sort of dif­fer­ent con­nec­tions to take place.” She says it in “How Bore­dom Can Lead to Your Most Bril­liant Ideas,” a TED Talk by jour­nal­ist Manoush Zomoro­di. Like the pub­lic-radio pod­cast­er she is, Zomoro­di brings in inter­view clips from not just Mann but a range of experts on the sub­ject of bore­dom and dis­trac­tion, includ­ing neu­ro­sci­en­tist Daniel Lev­itin, who warns that “every time you shift your atten­tion from one thing to anoth­er, the brain has to engage a neu­ro­chem­i­cal switch that uses up nutri­ents in the brain to accom­plish that.” And so the “mul­ti­task­ing” in which we once prid­ed our­selves amounts to noth­ing more than “rapid­ly shift­ing from one thing to the next, deplet­ing neur­al resources as you go.”

We’ve become like the exper­i­ment sub­jects, described in the Ver­i­ta­si­um video above, who were asked to sit alone in an emp­ty room for a few min­utes with noth­ing in front of them but a but­ton that they knew would shock them. In the end, 25 per­cent of the women and 60 per­cent of the men chose, unasked, to shock them­selves, pre­sum­ably out of a pref­er­ence for painful stim­u­la­tion over no stim­u­la­tion at all. How much, we have to won­der, does that ulti­mate­ly dif­fer from the dis­trac­tions we com­pul­sive­ly seek at every oppor­tu­ni­ty in the form of social media, games, and oth­er addic­tive apps? And what do these increas­ing­ly fre­quent self-admin­is­tered jolts do to our abil­i­ty to iden­ti­fy promis­ing avenues of thought and fol­low them all the way to their most fruit­ful con­clu­sions? As the old say­ing goes, only the bor­ing are bored. But if our tech­no­log­i­cal lives keep going the way they’ve been going, soon only the bored will be inter­est­ing.

Relat­ed Con­tent:

How to Take Advan­tage of Bore­dom, the Secret Ingre­di­ent of Cre­ativ­i­ty

How Infor­ma­tion Over­load Robs Us of Our Cre­ativ­i­ty: What the Sci­en­tif­ic Research Shows

Lyn­da Bar­ry on How the Smart­phone Is Endan­ger­ing Three Ingre­di­ents of Cre­ativ­i­ty: Lone­li­ness, Uncer­tain­ty & Bore­dom

David Lynch Explains How Med­i­ta­tion Boosts Our Cre­ativ­i­ty (Plus Free Resources to Help You Start Med­i­tat­ing)

How to Focus: Five Talks Reveal the Secrets of Con­cen­tra­tion

Why Time Seems to Speed Up as We Get Old­er: What the Research Says

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

The Best of the Edward Gorey Envelope Art Contest

What a delight it must have been to have been one of Edward Gorey’s cor­re­spon­dents, or even a postal work­er charged with han­dling his out­go­ing mail.

The late author and illus­tra­tor had a pen­chant for embell­ish­ing envelopes with the hairy beasts, pok­er-faced chil­dren, and cats who are the main­stays of his dark­ly humor­ous aes­thet­ic.

(A num­ber of these envelopes and some 60 post­cards and sketch­es are includ­ed in Float­ing Worlds: The Let­ters of Edward Gorey and Peter F. Neumey­erwhich doc­u­ments the cor­re­spon­dence-based friend­ship between Gorey and the author with whom he col­lab­o­rat­ed on three children’s books, includ­ing the delight­ful­ly macabre Don­ald Has a Dif­fi­cul­ty.)

The Edward Gorey House, a beloved Cape Cod res­i­dence turned muse­um, has been keep­ing the tra­di­tion alive with its annu­al Hal­loween Enve­lope Art Con­test.

Com­peti­tors of all ages vie for the oppor­tu­ni­ty to have their win­ning (and run­ners up and “very-close-to-being-run­ners-up”) Gorey-inspired entries dis­played in the Gorey House and its dig­i­tal exten­sions.

2019’s theme is the high­ly evoca­tive “Uncom­fort­able Crea­tures” … and depend­ing on the speed with which you can exe­cute a bril­liant idea and deliv­er it to the post office, you may still have a shot—entries must be post­marked by Mon­day, Octo­ber 21, with win­ners to be announced on Hal­loween.

In addi­tion to Stef Kiihn Aschenbrenner’s win­ning enve­lope from the 2018 contest’s over-18 cat­e­go­ry (top), some of our favorites from past years are repro­duced here. Our inky-black hearts are espe­cial­ly warmed to see the spir­it of the mas­ter kin­dling the imag­i­na­tions of the youngest entrants—special shout out to Daniel Miley, aged 4.

View five years’ worth of notable Hal­loween Enve­lope Con­test entries on the Edward Gorey House web­site (20182017201620152014) or down­load the offi­cial entry form and race to the post office with your bid for 2019 glo­ry.

Entries must be post­marked by Mon­day, Octo­ber 21 and addressed to Edward Gorey House, 8 Straw­ber­ry Lane, Yarmouth Port, MA 02675 USA.

Relat­ed Con­tent:

Lemo­ny Snick­et Reveals His Edward Gorey Obses­sion in an Upcom­ing Ani­mat­ed Doc­u­men­tary

Edward Gorey Talks About His Love Cats & More in the Ani­mat­ed Series, “Goreytelling”

Edward Gorey Illus­trates H.G. Wells’ The War of the Worlds in His Inim­itable Goth­ic Style (1960)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 4 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Louise Jor­dan Miln’s “Woo­ings and Wed­dings in Many Climes (1900). Fol­low her @AyunHalliday.

Make an Adorable Crocheted Freddie Mercury; Download a Free Crochet Pattern Online

Giv­en his pas­sion for his pussy­cats, is it real­ly such a stretch to imag­ine Queen front­man Fred­die Mer­cury pass­ing a qui­et evening at home with a cup of tea and a bas­ket of cro­chet sup­plies?

Tis but a handicrafter’s fan­ta­sy.

Oth­er than a boy­ish inter­est in stamp col­lect­ing, Mer­cury claimed to have no hob­bies, famous­ly telling an inter­view­er who inquired, “I have none. I have a lot of sex. Try and get out of that one!”

Which is not to say sex and cro­chet are mutu­al­ly exclu­sive.

If your cro­chet notions are root­ed in frumpy afghans, lumpy baby sweaters, and 1970s beer can hats, you need to get with the times and pic­ture a church bazaar pop­u­lat­ed exclu­sive­ly by sexy woolen Mer­curys in minia­ture fac­sim­i­les of his Wem­b­ley Sta­di­um era garb.

Moji-Moji Design’s Jan­ice Holmes, a self-taught expert in amigu­ru­mithe art of tiny cro­cheted crea­tures, devised the pat­tern in order to stitch up a spe­cial request for a Queen-lov­ing friend.

The result, com­plete with hairy chest, jack­et buck­les, and a bam­boo skew­er mic stand, was so fab­u­lous that she felt com­pelled to share the pat­tern with the world, in hope that those who took advan­tage of the free down­load would con­sid­er donat­ing to the Mer­cury Phoenix Trust, a char­i­ty that band­mates Bri­an May and Roger Tay­lor and Queen man­ag­er Jim Beach found­ed to fight HIV/AIDS world­wide.

Those who braved the tricky, many-stepped pat­tern were invit­ed to share pho­tos of their final cre­ation on Moji-Moji’s Face­book page. As of last count, there are 21, and it’s fas­ci­nat­ing to note the slight vari­a­tions in eyes, mus­tache, and chest hair.

In keep­ing with amigu­ru­mi tra­di­tion, the afford­able pat­terns in Moji-Moji’s Etsy shop run toward cute ani­mals, cud­dly mon­sters, and sea­son­al favorites like witch­es and elves.

But Fred­die clear­ly stirred some­thing up. Read the com­ments and you’ll find crafters peti­tion­ing Holmes for more music icons like David Bowie and Prince.

Ready to snug­gle up with a cro­chet hook? Down­load Moji-Moji’s free Fred­die Mer­cury ami­garu­mi pat­tern here.

If that’s rather too daunt­ing, ease into the crafti­ness with anoth­er free down­load—Lady Lazy­bones’ far less advanced fold­able cube­craft Fred­die.

Even if you plan on stick­ing with sex as your sole hob­by, please con­sid­er mak­ing a vol­un­tary con­tri­bu­tion to the Mer­cury Phoenix Trust here.

via Boing Boing

Relat­ed Con­tent:

Meet Fred­die Mer­cury and His Faith­ful Feline Friends

Watch Behind-the-Scenes Footage From Fred­die Mercury’s Final Video Per­for­mance

Fred­die Mer­cury Reimag­ined as Com­ic Book Heroes

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Join her in NYC on Mon­day, Octo­ber 7 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates the art of Aubrey Beard­s­ley. Fol­low her @AyunHalliday.

« Go BackMore in this category... »
Quantcast