Thanksgiving: A Pause

| ellenanneeddy

Between the cooking of birds and a small blizzard, we’ve had a pause in the world.. Don spent yesterday napping, I believe. I don’t know because I binged watched most of the extended Hobbit with Tolkein, my cat, and started a new sweater. Not what we normally do.

This was not a year for travel. Time and space have not cooperated. But it doesn’t mean that I felt people were distant. How did I manage to make friendships that have lasted 30 years, 40 years? How did that happen?

When we all could travel easier, many of us made friendsgiving, the day after thanksgiving. Now our bodies just aren’t cooperating. But strangely I felt everyone there. Don and I are only kids. We’re both, thankfully considering our parents, orphens. But we have family, rich and strong and very much loved. Thank you all.

Speaking of parents, my father fished as a religion. It was where he found peace, rest, calm and joy. I’ve never wanted to catch a fish in my life, but he took me in his small row boat, and immersed me in that world. Part of me has never left. When I stitch fish, I’m revisiting it. I offer it to you.

I spent the week batching luna moths for my cranes. I’m not sure whether they sit on the coast or not, but they’d be in the adjascent swamp land.

I love batch embroidery. It’s coloring in the zone. I use it for most of the small to medium elements in my quilts. So much can be done with small fish, flowers, frogs, birds, lizards, and anything else you can think of. I always make too many. It’s sort of like too much bacon. How could that happen? And of course, I can always think of a use for another fish or strip of bacon. Many pieces need a left over elements, just to round it out.

Batching elements helps me build a body of things to incorporate into a quilt to make it more love, to make it move, to make it flow.

It may be too much. This is the first pin up. They always shift by the time I get the water in and make adjustments. I think it needs rocks to ground it.

But who wouldn’t follow a path of lunar moths?

Filling in: Designing a Pathway

| ellenanneeddy

I’ve been working on this piece for a while. And then I’ve needed to let it sit.

Partially, I was waiting for weed stencils I could turn into rubbing plates. They came from Temu. and took forever. But I’m pleased with them. I want more, higher up on the right side.

Now we come to the tricky part. We have a blank space on the left hand side. You don’t have fish or frogs in surf. Maybe butterflies by the shore. I think rocks would be understated and wrong. What will I use to fill in?

Usually I know my options pretty well. I work a lot with grasslands and swamps, rivers, and ponds. Ocean shores, not so much. I’m not sure what is on the beach except for horseflies. Somehow, that’s not what I wanted.

Google didn’t help either. I looked up coastal insects and got lots of information about pest control. I was hoping for pretty pest control subjects. They did mention some pretty moths.

This is a moment I’m glad I’m a bibiloholic. I have in a series of books, Florida’s Fabulous insects. I have a terrible urge to use a lunar moth I already embroidered. IT worked pretty well. Moving moths could set the path for the eye through the quilt. When I looked it up, luna moths are down there.

So I drew out a series of luna moths. It’s more than this piece needs, but there is no such thing as a luna moth I won’t eventually use.

Design is a process. Solve one part of the puzzle, move to another part. Waiting is also part of the process. I find pieces grow into themselves rather than follow a design I had in mind.

Making Waves: Stitching Waves into Water

| ellenanneeddy

I’ve spent a lot of time working with making rubbing plates. Here’s one of the reasons. There are ways to make waves out of sheers and lame, or stitchery, but I want that feeling of white foam and spray.

It’s pretty. But it lacks definition. I can approach this with thread and/or sheer applique. It’s also a test case for my cranes.

This is what I’m aiming for. I’d rather not make my mistakes here. I’m waiting on some beach grass stencils to finish off this top. But I’m still unclear how I want to treat my water.

The two pieces give me the opportunity to try different ideas and compair them. For Making Waves 1 I treated the white bits as different from the darker blues. I stitched it with 40 weight madiera metallic supertwist first. That was miserable. Sometimes Supertwist will work with a 90 topstitching needle and a lot of Sewer’s Aid. This wasn’t that time. I got about three stitches before breakage. That’s past my tolerance.

So I went to plan b

So instead. I stitched the white waves from the top with poly 40 weight. The stitching from the top marks the back Then I traced the stitching with #8 weight candlight, rainbow.

I like this a lot. I went back in after that and stitched the rest with matching poly 40#.

Making Waves 2 is my second possibility.I stitched the waves withpoly 40#. More subtle but I like it too.

I also tried two different approaches to my sheer overlays. For Making Waves 1

I used white and purple cheesecloth. I found it too clunky.

Making Waves 1 sheers with cheesecloth

I like this treatment better. Metallic lace and white organza just blends in better.

Making Waves 2 sheerswith fish d1

So to recap. I like the thick threaded Candelight on the waves, 40 weight polyester on the darker sea, and metallic lace and organza on the waves. What do you think? What would you choose?

Making Waves 1
Making Waves 2

For more information about bobbin work, check out Arse Over Teakettle: The Stubborn Art of Bobbin Work

Bring Back Summertime Sale

| ellenanneeddy

It just snowed here today. Not a lot. Just enought to remind us that summer has past.

I don’t quilt snow very much. I’m not a fan. Mostly I quilt the gardens and ponds in my head, where it’s warm and wonderful, and wonders never cease.

To help you bring your own summer back, these little flower quilts are all on sale for under $100 dollars. For your own sun room or to warm someone else’s space.

Would you like something a little bigger? We have those on sale too.

Roses Cafe
Available on Etsy!

Understanding Quilted Textures: Layering for Stunning Effects

| ellenanneeddy

Most quilters think in terms of one surface. You make a top. You quilt a top. It works for the traditional quilt.

It’s never worked for me. If you’re creating a natural world, one layer seems, well, flat. Layers change tones across a piece, build texture, create shading, and add elements that are present but not solid. They can be made from fabric layers, thread layers, and sheer layers.

I also have a layer of image embroidery which is a separate thing.

Hand dye is always my starting layer. Even now when it’s become a pain in the ass to dye, I still don’t want anyone’s fabric for my art but my own. It’s unique one piece to another and if you let it, it will tell you what to do. Who doesn’t need a leg up?

This last month I’ve added another possibility. I can have an oil paint stick rubbing layer that adds substance as well as texture.

Because I can make the rubbing plates I need. I’ve used rubbings for all kinds of things, but mostly, the commercia; plates are best for texture. Oil paint stick rubbing is not exactly transparent, but it does show the background through.

On this piece I wanted trees, water, and reflected trees. I wanted the actual trees to be more present, so I stitched them straight stitch with brown, black and blue.

The reflected trees and the water texture I simply let be. It feels, mirkier, wetter and more like water surface.

I have a beginning layer of sheer shapes for water under my fish.

After I’ve stitched down my fish, the second layer of sheers places them in the water.

A stippled thread layer of Madeiera Metallic colorizes the air portion and makes it shimmer.

A stipple layer of Sliver thread makes the water splash and shine.

Finally a layer of leaves defines the surface of the water.

My goal was to create three worlds, the pond, the surface and the air. I think I’ve got it.

Layers add texture, density and complexity to what I do.

Rubbing Elementals: Using Oil Paint Stick Rubbing to Create Water, Air, Mist and Trees

| ellenanneeddy

What are elementals? They’re not the subject or the background. They are layers of sheers usually that create the ilusion of air, water, clouds, fire. Things that are usually translucent or transparent. They change color and texture within the piece without being obtrusive. Usually they have no hard edges. Instead, we see through them, but they help create the illusion of those elements by shifting the colors.

I put in my elementals directly after I’ve chosen my background and finished embroidering my subject.

Up until now, I’ve made my elementals out of sheers, lace, hand painted lace, and dyed cheesecloth. I love those. But I always want more options.

Since I’ve been able to make my own rubbing plates, I’ve had options to create that layered effect. Most rubbing plates create texture or give you a subject. The ones I made with stencils are created to make trees, clouds, waves and waters. Why does rubbed fabric work for that? It has soft edges, It blends into colors, and you can layer your rubbings just like layers of sheers..

beginning background
embroidered fish

I’m very pleased with the background and the fish. But I wanted the feeling of reflected trees and pond surface.

Fish placed in background rubbed with tree images and water reflectons. Rocks added.

The water and the reflected trees add a hazy elemental layer. What now? I’m unsure. I think it needs a layer of sheer waters as well.

Layers suit water. If you’ve ever walked into a pond, you can feel the layers of water, warmer or colder. It makes sense in fabric as well. I’m hoping to create three worlds, the bottom of the pond, the surface of the water, and the bare trees above the surface. Time to get out the silk leaves and organza.

Don’s Quilts

| ellenanneeddy

As a woman who was a 62 year old spinster, I’m not much of a romantic. But life is about surprises. It’s almost our 10th reunion. Don was the biggest surprise of my life.

He’s also impossible to buy any thing for. He wears clothes he’s had for over 10 years. If I buy him toys or tools, he rarely uses them.

I don’t quite understand that, but I find married life is not about understanding, necessarily. It’s about accepting. And enjoying the differences.

He does like cards.

I’m not a paper person. For years I’ve worked with fabric, and it’s my media. I make him cards in cloth.

These aren’t my art quilts. They’re funky, and sentimental,, and full of commercial fabric. And the fabric of our lives. But if we can’t be silly…..well, you have to be a bit silly. So here is his current collection.

They say you spend the first part of your life figuring out who you are, and the last part stretching into the other parts These quilts are that stretch. They’re a measure of Don more than myself, who is much more of a romantic.

New Rubbing Plates: What did you want these for?

| ellenanneeddy

This is a continuation of the last two posts. I’ve been making rubbing plates from modeling paste and stencils. Hunting for Rubbing Plates, and Modeling Paste: All it Needs is Pepperimnt flavor

Now I’m going to show you how that works with paint sticks and hand dye.

Working with rubbing plates is a bit like collage. You fit things in until you get the image you want. Usually I put in whatever I want as my focus, and choose other textural plates to fit in. It’s a dance of design.

The result is sort of like batik, because you have a textured pattern over shifting color. But you have so much more control over the pattern.

You can use it for images, but it does very well building texture, atmosphere, and elementals like clouds, water, smoke and flame.

IIt als works for filling in background. You can either create space or texture that builds the shapes.

I still wish I could do this with my own drawings. A girl can dream. I’ve gone through pretty much all of the rubbing plates that aren’t for the nursery, animal tracks and Christmas. But stencils…there seem to be a million stencils.

I also found Japanese stencils. I’m always wowed by Japanese art and these moved my furniture. Last week I showed you how to make the rubbing plates. Here is what I did with them.

The fish and crane images are great fun. But what I’ve really been pushing for is water: waves, ripples, eddies, streams, mist and waterfalls.

The backtround is filled in with several rubbing plates made from stencils made into rubbing plates.

I’m not even what comes next on this. Beach Grass? Maybe beach roses? The water itself is pretty powerful here.

Modeling Paste: All It Needs Is Peppermint Flavor

| ellenanneeddy

This is an ongoing series about making rubbing plates, part two.You’ll find part 1, Hunting for Rubbing Plates in last week’s blog. I’ve been exploring making my own rubbing plates with modeling paste and stencils.

Modeling paste costs the earth. And it comes in pretty tiny jars. Not to fear. It turns out to be easy to make with dirt cheap supplies.

I’ve seen several recipes, but none of them seem fussy. People just pour in ingredients and mix them until it’s the right consistency for their work. The peppermint comment is a rememberance to school paste and a joke. PLEASE DON”T EAT THIS STUFF.

Basic Recipe

  • Corn Starch
  • Colored Acrylic Paint
  • White School Glue
  • Container with Lid
  • Spritz bottle with water

Roughly equal parts glue and corn starch. Add a dash of acryllic paste, mix, sprits with water if it’s too thick.

Something no one seems to say is that the cornstarch seems to thicken quickly. It may help to spritz it several times in a session. Covered it will last for 3-4 days.

Colored acrylic paint is a nicety I discovered by accident. I didn’t have white. You can see how your stencil is working if you are working with colored paste. Much recommended.

I’m using foam board as a background. It’s a compromise. Wood is just too heavy and cardboard is to light. I’m using washer weights to hold down the larger pieces from curving as the dry. I cut the foam board into stencil sizes with a boxcutter and a plastic ruler. Foam board can come apart at the edges. I’m using blue masking tape around the edges to hold it together.

Picking Stencils

There is a staggering amount of stencils available. Once you banish the cute puppies and cats, there is an endless amount of choice.

Look for stencils that:

  • Don’t have large empty spaces within the design
  • Have a moderate amount of internal design
  • The right size for the designs you intend. This won’t stretch or shrink in any way.
  • Are made of tough plastic you can reuse
  • Don’t have really tiny lines in them

Making the Rubbing Plate

Set your stencil where you want it. Use a pallet knife to apply the past. A flat scraper or dead credit card is a good tool for smoothing things. Cover your design thouroughly and scrape off all the extra. Lift the stencil off carefully.

I have a bucket of water I put the used stencils in. That makes clean up easier.

You’ll find the design is lightly raised from the surface.

I usually smooth the edges a bit with some sylicon brushes and water.

Let it dry thoroughly.

That’s it. After it dries, you can take a nail file and smooth any rough edges.

Next week I’ll explore what I can do with these plates and some fabric.