I didn’t get a lot done this week due to home circumstances but here are a few more white samples.
This one is a melted polyester on felt. It is always interesting to see how the polyester melts, I used a heat gun on this one.
Here is my first ever attempt at smocking. This is a lattice smocking, I found a Youtube video to follow and it’s a fairly simple process but lots of prep work. It kind of reminded me of doing shibori stitching for dyeing or felt.
This is an example of English style hand quilting. I used one of my stamp designs that I created in Level 3 Art and Design for the pattern. This one has a light tan thread. The instructions were to use a light weight thread in a tone darker than the background. I didn’t have an off white light weight thread so the tan was the closest I had. I think I would have preferred an off white thread.
This last one used a design from a historical study. It is an example of Italian corded quilting It’s stitched on the sewing machine and then the channels were filled with wool yarn. It was an interesting technique.
I haven’t done a lot of these more traditional techniques such as smocking and various forms of quilting. I have a few more to try and then I have to get back to putting my color samples together. I am waiting for some supplies from Dick Blick for the color samples so hopefully, that will arrive soon.
Have a good weekend.
I have shown you loads of color samples that I created for my Level 3 Stitch class. Many people wanted to know what I would do with them. Part of our homework has been to figure out how to present the color samples, either in groups or one by itself. Here are a few methods that I finished in the last couple of weeks.
Here’s the front of one that has five studies combined by hand stitching the edges together.
Here’s the back. I had to add backing fabric to one of the color studies. I plan on adding a strip of black felt to the back running down the center but I don’t have a long enough piece. Black felt is on order!
And here it is rolled up. I’m not sure if it will have a way to tie or a closure. I haven’t decided on that yet.
The next couple set of samples needed a method that would combine the smaller pieces that had been stretched around foam core. So I cut pieces of black foam core and used a strip of black cotton fabric between the foam core and the back of the stitched sample. These were glued together. Now they can sit up on a table or be hung on a wall.
This set is presented the same way on the black foam core. It has been an interesting process figuring out which color studies will work together and then how to make all the different samples go together.
These color studies were actually created to go together. They are all machine stitched and have the same backing. So it was easier to figure out how to connect them. I used a knotted insertion stitch to connect the “pages”. It took me a while as I always forget how to do these stitches and it takes some practice to get the right tension and do the stitch correctly.
But I persevered and now the pages can be folded to make a book.
Or displayed in a concertina fashion. I’m still working on the rest of the color studies a little at a time. Keeping busy!
Thanks for stopping by!
Last week I “went” to class for Level 3 Stitch. We had class online. It was an interesting experience. Not quite the same as real class but we are able to move forward and continue class so it was good. It was really great to get feedback on the applique pieces and we’re starting to think about what our “big” project will be. We also looked at white on white and how that affects design. So now, you guessed it, white on white samples.
It’s interesting to see all the different “whites” in fabric. Something may look white but then you put it up to something that is a much brighter and whiter white and it is a totally different color.
White felt is definitely not the same as white cotton fabric. It’s interesting to see the different textures that sewing on different types of fabric creates.
And even paper is game.
Lighter fabrics are easy to manipulate with stitching.
I have been searching through my stash to find what I have in white.
Quilting in white definitely shows the shadows of the stitching.
I borrowed this idea from one of my classmates color samples. This stitch and slash technique is really good with different colors of fabric as it really achieves some interesting color mixing. I thought I would see what it did with different white fabrics. It gives a really nice texture. It kind of reminds me of stone carvings.
And this last one is using the cut off partially sewn edges from the piece above. This could definitely give some interesting textures.
Have you ever stitched white on white samples? I’d love to see them if you have! Hope you are all staying safe out there in this big, weird world.
I love simplicity in design. It’s not easy to achieve but I always admire when a piece is taken back to the bare essence of an idea. So when Textileartist.org announced a challenge by Emily Jo Gibbs, I was intrigued with her style. The instructions were to find a stick or an object such as a paintbrush to be your inspiration. Then, sketch the item and use that sketch to create an applique. Ha! Applique is perfect for another homework assignment. Plus, the simplicity of using a sketch as the design. I have hundreds of sketches that I could use. But I found a stick, and did a sketch of it, including the shadow.
Then I created a pattern for the applique pieces out of tracing paper, chose some hand dyed organza and a linen background.
Here’s the documentation in my sketchbook for Level 3 Stitch class.
Then on to hand stitching while listening to a portion of an online class given by MOMA. I love the simplicity of the piece. A bare bones sketch in applique. As I said, I have loads of sketches that I could recreate this way.
For the MOMA class, the artist featured this week was Barnett Newman. I had never heard of him before and it was interesting to learn about his style. Again, simplicity is evident. His work that he is best known for are his “zips”, the line of yellow oxide down the middle of the painting in a solid colored background. But the “zips” weren’t usually exact and had more complexity to them as you get closer and view the painting at more length. Many of his paintings are really large so that as you get closer, you are engulfed by color. The painting above is done in his style. Acrylic paint on sketchbook paper. I don’t think it quite gives the same impact as it might have on canvas or board. But it was an interesting experiment.
It’s a fun course and now we are studying Willem de Kooning.
Thanks for stopping by and stay safe!
I finished up the envelope book I showed you last week. I decided to use my own handwriting for the poem even though I generally dislike my own writing. But I went with it anyway. I used a poem by Joan Graham called ‘Nature Knows Its Math’. It seemed to fit and I added in a few more sketches on several pages that referenced the poem.
Here’s the front again. I used a painted piece of rice paper for the binding. The binding paper has a couple layers of acrylic medium to make it stronger. It almost feels like fabric.
I really enjoyed creating this book. It is a very easy book construction and can be decorated in an infinite number of ways. Have you tried creating your own books? I’d love to see them if you have.
Take care and stay safe!