experimentation

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

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.

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.

Hunting for Rubbing Plates: When You’re Desperate You Make Your Own

| ellenanneeddy

I’ve been in love with oil paint stick rubbing for some tine. The ritchness of the patterns and colors adds a fabulous dimension to my art.

IT’s not for every quilt. It’s not for every image. But when it’s right it’s magical.

My first usages for them were little quilts, experiments more than anything. To my surprise, they have been popular. People have bought them and been pleased to have a small quilt at a more accessible price. I’ve continued to make them.

They’ve crept into my larger work as well. I found I could use plastic ceiling tiles as rubbing plates,

What am I missing?: Rain, frogs, birds, grass, pebbles, water reflections, clouds, sea weeds, and who knows what else.

It’s limited. There are some fabulous rubbing plates, but they are finite. No one seems to making new ones. And as a phase in the quilt world, it seems to have come and gone.

But that’s the thing about phases. If they have a glory of their own, then perhaps they shouldn’t go. I keep wanting more images. At a certain point, it has to come from somewhere else.

I’ve tried desperately to make my own.

This has been a quest for a while. I tried making plates on a CNC. As it is, it’s past my ablity. If anyone is willing to help me learn, I would bless you. I do think it’ s a possible answer. I’m not currently able.

I’ve tried block cutting erasers. Words fail me. Not my skill. I’m willing to do something badly to do it well, but not that badly.

I’ve tried piping modelling paste, with limited success. You can pipe modeling paste through a piping bag like frosting. I can too, but mine is lumpy and weird, even if I smooth it out with a brush.

If it’s too hard, too long or too miserable, you have the wrong tool.

I saw someone stencil with modeling paste. They weren’t making a rubbing plate of it They were building a raised image. . But I sure could. The number of available stencils appears to be endless. I still wish I could make my own designs work.

Here’s my first efforts. The colors are irrelavent. They’re whatever acrylic paint I had. I do think it’s helpful to use a color because you can see your raised surface better and correct it easier if needed.

I’ll be exploring this for a while in the next couple of blogs. Next week, how to make the plates.

Marching On: Struggling Along to New Tech

| ellenanneeddy
Detail of fish in water elements

I have to say that this week has left me exhausted. My new to me 930 froze mid stitch, and I am, again. scrambling. Currently working are the 220 and the 20 U Singer.

If it sounds like a first world problem, you’re probably right. But I sew every day, usually around 3-4 hours a day. It’s more than a job. It’s not quite an adventure. It’s certainly my mental health.

When I was teaching, occasionally I’d get a student who would ask me how to do something. Usually it was an amazing idea. But I’d never tried it. I was sorry to tell them I didn’t know exactly how to do that, but that they eventually would. Art is not all about inspiration, and public statements. It’s often fed by the ability to hunt the snark, find a way to make things as you wish. It’s damn hard work.

But if it’s important enough, you find a way. And many artists have the decency to make their journey available to others, so that our art grows, not just in volume or in content but in ability. It’s why we write. It’s why we teach.

If I said that to you in class at one point, I apologize profusely. Just because it’s true doesn’t mean it’s what you wanted to hear. And I thank you for not having hit me.

The art quilt movement rebuilt quilting. Part of it hunted down old skills: hand stitching, hand quilting, pattern pieces, paper piecing and the like. Part of it is new tech: rotary cutters, machine work, computer design, different materials and stabilizers, different threads.

This is not the glamourous part of art. It’s grueling. Try one thing, try another. Look for an answer. Take the best compromise you’ve got.

Edging with three hoops on the 20U

I’m currently working on a koi fish quilt, working title, Upstream. It includes a kick ass koi and waterfalls over cliffs. I’m proud to say I figured out how to do the detail stitching on the 20 U. It involved 3 metal stackable hoops. I’m waiting with some anticipation for my Maggie Frame to arrive. It may really change the whole hooping process

The hoops are important because I can’t get a foot to work on the 20 U. The one foot that works won’t deal with the thickness of the quilt sandwich. Other feet I tried didn’t work with the machine or allow for a zigzag stitch.

For those not familiar with how sewing machines work, your machine will not form stitches if your fabric isn’t held taunt. Your pressure foot usually provides that stability. Without it, something else has to hold your fabric tight. Hense, the hoop. This video does a nice job of explaining how a stitch forms.

So I have to figure out the hoop thing.

On another front, my new crashed Bernina 930 is in pieces soaking in machine oil. I’m sure we’ll figure it out.

Stitched down with water elementals

I’m struggling with finding ways to utilize the Singer 20U. I added in my cliffs, direct applique with the 20U, using that stack of hoops. It’s a less elegant stitch line, but it worked.

Next steps: stipple in, add water splashes, back, quilt and bind.

Try, Try Again:

| ellenanneeddy

This is about keeping old work. It’s also about process shots. And it’s about putting things down and picking them back up when the time is right.

There are pieces that never work out. I don’t have a bunch of hopeless little piles in the studio, but there are some. This is one that is old enough that I don’t even have process shots of the disaster.It could vote. If I had process shots, Id know better what I did.

There are 200 fountains in Kansas City in around a four block area. I got to walk there one afternoon. I’m always a water baby. I was mesmerized. I saw a fountain with a cat head that blew my mind. Not the largest fountain. But all I could think of was birds flying through it. Owls. Spoonbills. Swallows. Chickens. Fantasy birds flying over an old stone fountain.

I had to try it.

It bombed. I couldn’t make the fountain. I’m not good at man made structures. I just didn’t have the chops. And I had no Idea how to make flowing water. It took me almost nine months to figure out that I couldn’t figure it out.

That kind of exercize is bad for moral. I never throw things out, but I must have thrown this out. I can’t even find the cat head I embroidered for it. Had I kept process shots and left the pieces alone, I could show you. As it is, you’ll have to imagine. It was hopelessly rumpled and the fountain looked like it was made by 2 3 year olds ready for naptime.

Fast forward 15 years. I rubbed a series of grey texturized fabric for some abandoned city pieces. I wanted birds flying over it. Sounds familiar, doesn’t it? J’d come back to my cat head fountain.

There is an instinct to run. To say it’s too hard. To just back away.

But I’ve decided not to.

What has changed?

  • I do my embroideries separately now so I get much less distortion
  • I can do the fountain as a separate applique and applique it as well
  • I’m much more secure with falling water. I’ve done it now and feel confident I can do it again.
  • I now use oil paint stick rubbing to create old carved stones.
  • I’m working with a better stabilizer (Decor Bond, Stitch and Tear, and Felt)

Strangely enough, I was able to find a picture of the fountain online. Not available five years ago. Somethings just get better.

Will that matter?

It might, It’s worth a try. When an old idea still has that kind of heat behind it, it’s important. It needs to be worked with. We begin to transform ourselves when we interact with images that somehow connect strongly. Most strongly, when those images scare or upset us, but also the ones that delight us. Creating an image gives us some power over what we create. It changes our story. It changes us. All those cave men drawing Bisons can’t be that wrong.

Currently I’m working on embroidering the three swallows, visiting the fountain. While the fountain is a mundane ordinary thing, the birds are anything but. I did them in rainbow colors, because they are the fantasy past all that mundane cold stone. They are delight on a gray cold day.

I originally wanted one with owls and one with roseated spoonbills. I still might.

I’m going to continue this in several posts, because it’s clearly a journey for me, and I’d like to share it with you. Let me know what you think.