I knew I had some work to do, but I had another visitor from out of town -- my friend-from-university-days and former bridesmaid, P -- so with the exception of a bit of working in glue resist on fabric, I did nothing in my studio for almost a week. Instead, we toured the hamlet, took in the Innisfail Quilt Show at the Heritage Village there, enjoyed delicious food and wine, celebrated my 40th anniversary with another couple at church, visited my sis at her cottage, slept in, read, took naps...and simply enjoyed each other's company.
That left me pushing the deadline for blocking my piece, as well as working on commissions that also have deadlines.
First, I finished the medallion quilt top. I had to spread it out on my back lawn to get a full photo, as it's 116" W x 98" L:
The backing has arrived and been washed, so all is ready to go. My daughter, who commissioned it, and I will visit the long-arm quilter later this month to discuss the quilting design and thread selection, and then leave it in her capable hands!
Next, another commission...for a selection of small Maritime pieces, based on photos provided.
I decided to try out a couple of techniques that -- serendipitously! -- were written up in the latest issue of Quilting Arts.
I wanted to make 6" square pieces I could mount on stretched canvas, and I wanted them to look like pen-and-ink-and-watercolour. The long weekend (Aug. 1-3) when my Calgary friends were playing with me (we did indigo dyeing of silk, cotton and wool batting/roving), I made some samples.
First I tried "A Wholecloth Quilt With Color and Stitch", which had the look I was seeking. Desiree Habicht gave very good instructions in her article, but it was clear I didn't have the variety of water-colour and InkTense (R) pencils on which to draw, because I couldn't get the colours blended the way I wanted:
I liked the look of the black stitched outlines...but it was tough to work on the quilted fabric, and the depth of colour just isn't there. Pretty, but a bit stiff.
The first time I made the sample, the paint was too dilute, but I loved the clear colours. I also discovered that I should drawn in lines to define the clouds and trees, rather than trying to 'wing it'...
The second sample worked so well that it's turned into the first finished piece of the triptych. I combined the glue gel resist technique with the black outline stitching and just love the whimsical. colourful interpretation of this Maritime Canada city (sorry, no further details lest the intended recipients read this blog!)
Here's the piece finished, faced and affixed to the stretched canvas:
The other two pieces have been painted, and will be finished after they're washed -- yes, in the regular laundry!
|Triptcyh Piece #2, with source photo|
|Triptych Piece #3, with source photo|
And now back to our regularly-scheduled program...
The Master Class assignment for August! Based on EB's comments about my rising horizons, I decided to do another set of sketches, focusing on only one of the landscapes I'd submitted originally. My choice: "Driving East On Hwy 12"
Much better, but how to do this in fabric?! Perhaps if I made it more 'geometric'?
Re: the vertical lines: I toyed with the idea of another triptych...but in the end, I blocked it out as one large piece. There are some details to add (more highway lines) but for now...
|When I finished, I realized that for me,|
"It's Still About the Sky"
Materials: snow-dyed fabric, commercial cottons & batiks
Size: 30" W x 26" L (unfinished)
And I hafta confess... I love it!
Linking this to WIP Wednesday over at The Needle and Thread Network...and waiting for EB's feedback...
All for now!