tree bark

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.

Branching out: A Different Approach to Bird Nests

| ellenanneeddy

I’m never really satisfied with my drawing skills. Drawing is like writing. The only way to get better is to keep drawing. I cut better than I draw. Which sounds stupid until you look at the cuttings Mattise did at the end of his life. He couldn’t paint with his limitations, so he did cut outs instead. They are magnificent!

I don’t know that my cut outs work that well. But I am more confident with them for floral/tree ideas. So when I went to make a rosiated spoonbill nest (which is basically sticks), I cut out branches rather than try to draw them.

Of course, they’re flat before you stitch them. There’s about three colors of brown hand dye in them. But the stitching is the definition.

Usually, I build bark with my stitching. With this much going on, it’s hard to see, but I added a layer and savaged it to make bark that pealed and curved.

This time I went for something a bit different.

Laws puts out drawing how-to and journaling books that I really like.

Not only does it show you how to draw an object. It gives you a thousand ways to see what it looks like at a different angle or at a different point of view. And how and why it changes. I turn to these books to push myself to better drawing.

Lost in the Woods: Redeeming design Decisions

| ellenanneeddy

Every piece involves an endless number of choices. Sometimes I think it’s fun to share them with you. Creation is a journey best taken with friends.

I love the woods. I can’t walk in them anymore. I can’t walk anywhere far at any length. But I can make the woods for myself.

I’ve been working on a roseated spoonbill for some while. I chose a fabric that had that deep wood blue greens in it. With a big pink bird on it, I knew I was on the right track.

I considered what kinds of trees I wanted. I wanted a deep wet swamp. Pine trees would work for that. I made beautiful deep green branches on them.

I pinned up my gorgeous trees and watched them disappear into the background.

Back to redesign. That kind of redesign takes me a minute. I left it up on the wall a bit to think. Yesterday I dusted the tops of the branches with the brightest light greens I had in my threads.

They looked much better.

Then I put them up and photoed them. They looked great on the photo wall.

Odd things happen with photos. I usually take photos of what I’ve done at the end of the day as a record of my process. I give the photos to the owners when they purchase a quilt to invite them into my process. I don’t always remember what exactly I did, so it’s a good practice.

This time the photos deceived me. The trees looked way too bright. But when I came back to the studio, they looked so much better.

I’ve had another problem with this piece all along. I couldn’t get the head pointed the right way. I cut the head off so I could reposition it, but it’s still not right.

Yes, you can cut embroideries apart. After enough stitching, who would know? I do it whenever needed.

So I separated the neck and tucked it in at a stronger angle. It pleases me more. She looks like the birds have disturbed her but she’s in motion.

Do I know what I’m doing? Don’t be silly. I try things, put them on the wall and stare them down until I’m sure.

The tool that makes this all possible is my photo wall. If I don’t take the time to look at it, I really won’t know when it’s not right. Why?

Because I don’t want to take the time. I want to get done. That doesn’t always work. Two days looking at the piece is infinitely better than knowing forever I needed to move something over 1/2″. Or ripping it out.

If you don’t have a photo wall, you should. You’ll never know what you’ve got until you really look at it. For more information about building a photo wall, look up Studio Essentials: The Glory of the Photo Wall

Branching Out: A Tale of Two Branches

| ellenanneeddy

I’ve been waiting for a while to finish this quilt. Right now it’s all pinned together. All the components are finished, but not stitched down.

Branches are always hard for me. I’m more comfortable with leaves, but the leaves need to sit on something. And this heron needed a nice dead branch to stand on as she surveys her pond.

I think it’s harder because it’s more abstract. I’m not quite sure how to do the portrait of a tree. So I start with a shape, and I’m trying to make an interesting bark.

I’ve tried some slash applique for branches. I tried that first. I used two layers of hand dye with felt and Stitch and Tear as a stabilizer. I was trying to get the grain of the wood to wrap around the branch.

I stitched it down, straight stitch, trimmed out the shape, stitched in grain lines, and slashed the top layer. Then I hand ironed them with a point turner so they would stand upright, and stitched along the seam.

Once I sliced through the top layer, I roughed up the fabric with the edge of my mustache trimmer. The mustache trimmer was not on, but the blade on it made a nice surface to make the edges fray a bit.

I don’t consider it a success. I don’t like the shape and I don’t like the direction of the bark.

So I did it again. This time I used three layers of cotton, and stitched vertical lines much closer together. I didn’t really savage the upper layers. Instead, I sliced through them like chenille. I tried several methods but it really was easier just with scissors. I roughed it up with the trimmer as well.

This isn’t appliqued down yet, but I’m so much happier with it. The other branch will work in a forest floor piece, but not here.