I have been continuing with work on my green nuno landscape and thought you might like to see how I “play” with the design. I put on layers of sheer fabric, take them off, try another piece of fabric and keep working with the various bits of fabric until I get a composition that is effective.
I’m using a variety of fabric including nylon organza, silk organza and cheesecloth.
I put pieces on, take a look and then rearrange or take pieces off. Or move them around, add more pieces and so on, always stepping back and looking in between steps. What works, what doesn’t? You can see how sheer the nylon organza is, there is a piece on the top left side sticking off the edge on the right photo.
Sometimes it is hard to tell what changes and it’s a slow process but fun to see what happens.
Once I was happy with the composition, then I pinned pieces in place. I really should have taken the time to baste the pieces in place but I was feeling lazy. On the right photo, I have started to stitch the sheer fabric in place at the top. I didn’t want the stitching to really show that much, so there are tiny stitches in similar color/value thread to hold the sheer fabric down.
These last two photos are of the piece hanging on the design wall. This is really helpful for me, to see it hanging and to be able to back away from the piece and view it from a distance. I had stitched in the three orange flowers in the distance but they were really bugging me. The flowers were too big for the distant hills. They were the size of trees. So unstitching occurred and I removed the far flowers. I haven’t decided whether to add them back into the middle ground or not. The photo on the right is the amount of stitching I have completed now. Once I get all the rest stitched down, I will decide if it needs anything else. I also have to think of a better name than Green Nuno Felt Landscape. Any suggestions?
I have started working/playing with my green nuno felt landscape. When I last posted about it, I showed you an idea that I got from layering a photo over the landscape in Photoshop. I liked the dreamy look of the landscape. Now how to create it in fabric and stitch?
I had stamped some silk organza with a flower design for another project. Perhaps it would work for the landscape? So I started playing with different fabric choices and placement.
I added more fabric and then covered with a pale yellow green nylon organza (you can see it on the right edge) to see if it gave it that “misty” feeling. It was OK but not exactly what I wanted.
I took away the overlay and added some white lace for the floral component. That is starting to look better. I think the background behind the upper flowers either needs a grey or blue overlay of sheer fabric to make it seem farther in the distance. I didn’t really see that until I looked at the photo.
Then I wanted to compare using silk paper (flower on the right) for the flowers instead of lace. I am leaning towards the lace.
That’s as far as I have gotten on the planning process. It involves many trials of putting fabric on and off. Taking photos of each trial. Figuring out how I can integrate the applique into the background. Deciding whether I am going to use machine or hand stitching. The process is definitely a journey!
Imagine this: you’ve planned that project in your head. You’ve gone through all the steps and know what needs doing. You have all the materials, and you’re getting ready to work on it. It’s going to be epic!
Except… something goes terribly wrong and the end result is nothing like what you expected.
I’m sure we’ve all been there. Craft long enough and, be it due to bad luck or simple statistics, something will go wrong.
The problem: The yarn above is a colourway of mine called Love Heart Meow. At first glance, it looks exactly as it should, except something went wrong during the dyeing process and the end result is “muddy.” You can’t really tell in the photo, but in real life I can definitely see it and it’s driving me mad.
The solution: I’m going to overdye it. I find that when things don’t go as planned, a blue overdye can save things around. Who knows, maybe I’ll create a new colourway?
(Shameless plugin moment: I’m getting back to blogging in my own website and I’ll be sharing the over dyeing process over there very soon! I’ll of course still be working on new content for our lovely blog here.)
A while back I was doing an exchange with a dyer friend of mine and decided to send her some hand dyed silk cocoons. Silk comes at a price for the poor silk worm, so I was very keen to “make it count” (yes, I’m the soppy type).
I carefully dyed each cocoon, making it so that the exterior and the interior were slightly different and adding variation in shade/colour. I was rather chuffed with the result.
Of course, I then proceeded to ruin things beautifully. I don’t know what happened in my brain but I decided to set the colours with more acid… by dunking the cocoons in hot water.
If you’ve ever dyed these precious things, you’ll know they need to be steam set if you want them to retain their shape. Hot water is most emphatically not the right thing to do, as I remembered even as I was dunking them in the H2O.
The problem: I had a hot mess in my hands, the cocoons all melted into each other, were soft and (to me, at the time) completely useless.
The temporary solution: Remove from water and back away from the project! Make some tea. Curse out loud. Come back later.
The real solution: After keeping whole thing away from sight a while, I looked at it again. It was a mess, but I could make it into something different. The colours were pretty. Then it hit me…
Tah-dah, wall art to the rescue. The colours are actually brighter in real life.
I sewed the Cocoon Combo to some black felt, added some beads and shiny embroidered stars in gold and silver. The shape of the thing was asking for an oval embroidery hoop, so I bought one in a suitable size and Bob’s your uncle.
It looks like something done on purpose, doesn’t it? It’ll be our secret.
Now, this wouldn’t be a post by yours truly if I didn’t add a little sewing, would it?
While perusing one of my usual fabric supply sites I stumbled upon the most fun cat fabric. As with most things in the crafty brain, I had the “button” sorted but not the “suit,” so to speak. I had to come up with something to create with that fabric!
I decided on the Metamorphic Dress by Sew Liberated because it looked comfy and, best of all, asked for two complementary fabrics (the cat fabric had a “friend” that I thought made the cats look even cuter. Aaand, I’ll stop using metaphors now.)
I love this dress. It works great on its own or as a top layer, making it good for more seasons. It’s meant to be reversible, but this one isn’t (there are reasons but I shan’t go into them).
One great thing about being short is, I never need as much fabric to make something as the pattern says I do. After careful calculations, I knew exactly how much to buy and order it I did.
The bad thing is, if you don’t have extra and make a mistake… well.
I was on the phone with my other half and got distracted. Instead of cutting the top layer a specific way, I did it wrongly. I immediately noticed the disaster, but it was too late. My soul hurt. I didn’t want to order more fabric because of this!
The problem: No extra fabric and the huge unwillingness to buy more. I was doomed.
The temporary solution: The same as with the cocoons! Back away from the project. Make some tea. Curse out loud. Come back later.
The real solution: I had a little extra of the gingham fabric. Patchwork to the saving.
I had only made a mistake with one half of the fabric, so that became the back. I cut that piece in two and added a strip of the under layer fabric to the middle. It almost looks like it’s a proper feature, at least to my eyes.
I’ll have to confess I felt rather smug after this. My solution worked, I didn’t have to buy extra fabric and my dress is perfectly wearable.
My smugness was somewhat abated after my mum saw the dress and said it looked like a maid’s apron, but that’s another story…
That’s it, three examples of things that didn’t go as planned but had a solution. If you let your brain think about it for a while in the background, I bet you’ll come up with alternative endings for your “mistakes.” Like the cliché goes, mistakes can be opportunities to do better later. Beats giving up, right?
Finally, the random photo of the day:
My lovely osteopath Jane went on holiday to the Shetland Islands and I asked her to send me some sheep pics. She obliged and I thought I’d share them with you.
In my last post, I showed you how I was creating some mark making tools for our annual art retreat. We had the retreat and had so much fun creating abstract artworks. I apologize for the poor quality of the photos as the light is very bad at the lodge where we stay and I was in a bit of a hurry.
The process involved each of us starting with the same size piece of painter’s canvas and then ‘changing’ the canvas with a variety of media and techniques. Some of the steps were timed and some not. It took us nearly a full day to ‘complete’ our pieces. Some of us are still working on them, some may tear them up to use in a different way and other’s may keep the end result as is.
Here are some of the supplies that we used and you can see the piece of folded canvas at the front of the table.
We did construct a few more mark making tools, mine are on the left, Paula’s in the middle and Louise’s gelli printed feather brush is on the right.
I thought it would be interesting to see the pieces as they progressed so I will show each person’s piece separately.
This is Deb’s piece from start to finish.
Here is Louise’s piece. I think she is still working on it.
Here is Paula’s piece. You can see the light shining through the picnic table in these photos. We usually forget that the picnic tables have spaces in between and this always causes issues with such things as printing or marking over the surface. I think Paula is planning on cutting/tearing this into smaller pieces to use in some manner.
And here’s Sally’s. You can’t see this in the last photo but she has added hand stitching and beading. She was not sure if she is finished with it or not.
And lastly, this one is mine. I think I am finished with it and actually happy with the result. Usually, I don’t tend to like my attempts at abstraction. I didn’t add much color so maybe that’s why I like this one better.
We had a great time and I am always amazed at the different styles that come from each person. We know each other well enough that it would be easy to recognize who’s piece is whose.
I’ve just taken down my work from a Made in Whitstable group exhibition at a local arts centre gallery so thought I’d tell you about the felt pieces I had in the exhibition.
Made in Whitstable is a loose affiliation of artists and makers who have a close connection to the town, on the coast in SE England.
With a diverse artistic group it’s not always easy to find a title that everyone is comfortable with. ‘Connections’ seemed to offer enough room for people to work with in their various styles and mediums.
This exhibition was postponed from Easter 2020 so it was great finally to get some work out there, and to catch up (albeit at a distance and in a mask) with people I haven’t seen for a long time.
As I’ve described in previous blogs, this year I’ve been learning from online workshops. I’ve long been interested in both seed heads and shells and these have both continued to feature in my recent work. Reflecting on this, I realise they are all forms of natural protective cases and although it’s not a snappy title, I decided it was a good ‘connections’ theme for me.
This is a picture I made specifically for the exhibition.
These photos show the oyster shells laid out, prefelt shells in a single sheet, then cut up and laid onto a background of white Norwegian batt (lower half) and tan Perendale batt (top half). There’s a recycled silk scarf laid over the tan batt layers to give the impression of a pebbled beach in the distance.
Layout for the turnstone, using a combination of merino wool and prefelt; fully felted turnstone and a trial with two birds. I decided to go for just one. I needle felted the turnstone into place then added the eye, beak, legs and a few feather details
I also made some smaller pictures along the shell & seed pod theme
Top left: mussel shell with recycled silk sea, cotton scrim wave foam and prefelt pebbles
Top right: Oyster shell with mixed wool and yarns and fabric barnacles on a recycled silk background
Bottom left: pink shell on a recycled silk beach with cotton scrim wave foam and mixed wool and silk fibre sea
Bottom centre: paper felt shell on recycled silk background
Bottom right: Corriedale, silk and yarn background with multiple-resist circles, hand stitching and a sycamore key
I also had various 3D shapes in the exhibition.
Left – based on a eucalyptus seed pod. I made this in a wonderful workshop by Gladys Paulus in November 2019. I covered that workshop in my first blog for the Felting and Fiber Forum. Various wool batts and mohair locks.
Top right – conker made in two parts (using the stem technique I learned from Gladys). Outer made from Perendale and Norwegian batts, inner is merino wool tops
Bottom right – based on a hazelnut, also made soon after Gladys’s workshop.
Here’s a poppy seed head I made this year after Fiona Duthie’s Fibre + Paper workshop. Mulberry paper is felted into the felt surface. The paper adds structure, folds and pleats well and can be drawn on / painted. I painted this with watercolours. I had to make the top separately so stitched it on. A local craftsman made the base; the pod is held on a piece of dowel attached to the base.
This nigella seed pod is also paper felt but made side-on with pre-felted ropes and thicker wool sections (not prefelted) to allow variable shrinkage (learned from Soosie Jobson). I had a reclaimed jarrah wood and dowel stand made for this.
And finally, I included a few plant holders and some earrings.
Here’s my display area – I did put the cards (bottom right) on a small table!
There were lots of good exhibitors. Here’s a small selection: top left fused glass by Irene Southon; middle left acrylics by Josephine Harvatt; bottom left watercolours by Sarah Louise Dunn showing local sites commissioned by Whitstable Museum to illustrate a map of the town; right, prints by Linda Karlsen. Work by Irene, Josephine, Sarah and Linda (Wearartworks) can all be found on social media like Instagram and Facebook. They and other exhibitors can also be found on Made in Whitstable’s Facebook and Instagram.
The footfall was rather disappointing and I would guess that sales were down on previous years, but it was really good to get some work out on show and to see what other people had been creating.
The last time I posted here (in January) I described my plan to take various online felting classes. With all my sales and exhibitions cancelled or on hold I thought this would be a good way to keep me focused and motivated during our 3rd pandemic lockdown. Here’s the link in case you want to look back to January’s post.
This time I’m talking about my online learning since then, including how it has led me in some unexpected directions.
I was part-way through Teri Berry’s bag making class, which was great. I made my third bag, a backpack, and am very pleased with it. I’d definitely recommend Teri’s class. The instructions were clear and comprehensive and Teri was very responsive to my many questions, thoughts and comments. I learned a lot about bag making techniques, which is exactly what I was looking for.
Because two of the bags I made are large, relatively thick, and have to be fulled very hard, I admit bag-making was rather harder work than I’d anticipated. I rent a studio in an old industrial building that is largely unheated so maybe mid-winter isn’t the best time to be working so much heavy, cold, wet wool, but it’s a minor point. I had to use plastic gloves for the first time as my hands became so shredded and I often went home with sleeves wet to the armpit!
I’d planned to take 3 classes over January to March but was irresistibly drawn to a 4th: a 2-session live international felt-along by Aniko Boros (Baribon.Hu) learning to make her beautiful felted tulip pendant with pebble inclusions. Having signed up I realised it was going to be difficult to find the colourful 14 micron merino wool I needed. I only had white. I’ve never dyed my own wool before but I thought, why not have a go?
I already had some acid dyes so I started off with some 21 micron merino before going on to the finer and more expensive 14 micron. Then I tried silk hankies, Corriedale tops, mohair tops, silk fabric, alpaca & nylon …. nothing was safe. I had a blast. I had no idea how much fun dying would be.
Then it snowed and I thought ‘ooh, I could try snow dying’. That turned out to be great fun too. On the right are just a few of the snow dyed fabrics.
I had several colour choices of dyed 14 micron merino by the time Aniko’s workshop came around. The workshop itself was really interesting. A clear and detailed PDF was sent in advance and turned out to be very helpful on the first day when the sound or picture dropped out occasionally. It meant I could see what I needed to do next so was able to keep up. I’m pleased with my pendant (although I still have to add a fastener) including how the dyed wool worked, and feel I’ve learned techniques I will be able to use to make my own designs. Also, it led me into the entirely unexpected joy of dyeing.
In the meantime I’d started Fiona Duthie’s online class Ink + Cloth. We practiced adding ink at various stages of feltmaking with loads of potential for using these techniques in future projects.
Above are samples of adding dye / ink before felting (on silk fabric) and on prefelt
These are samples of ink added in different ways to finished nuno felt with cotton and two types of silk. I’d found an image in the V&A museum online catalogue (a fantastic resource) of an early 20th century furnishing fabric with this style of lollipop trees that I was thinking of using for the 1st quarter challenge …but that’s a story for another time.
At the end of this I decided to combine various things I’d learned: to dye my own Corriedale wool tops for a bag and maybe to decorate it with inked or dyed pieces. This is still work in progress as I am not completely happy with it. I decided to let it dry and have a think before doing the last bit of fulling. After I’d laid out the wool I dithered over whether to add silk and prefelt pieces or not as I quite liked the wool as it was. At the last minute I added all sorts of bits and pieces without properly thinking through the design. I fear it betrays its history. A colleague who saw me rinsing it at the studio casually commented it was very ‘hippie, trippy summer-of-love’ which is absolutely not the look I was going for! I will come back to it soon. I included the strap in the photo to give an idea of what it will look like finished.
Now I’m part way through another class with Fiona Duthie: Fibre + Paper. It’s a fascinating process of combining specialist paper with wool. We started by making lots of samples: paper and felt, paper relief, extreme paper relief and paper with prefelt.
Above are samples showing different amounts of paper felted into 21 micron merino wool and bottom right combines prefelt and paper. They feel lovely and there seems to be so much potential to use paper with felt in different ways.
This week I made a vessel with paper embedded into the surface. It’s not perfect: I got a bit over-confident near the end and tore some of the surface (you can just see it bottom left, between the two ribs). I’ve been interested in shell shapes for a couple of years so I shall enjoy making more 3D paper & felt shell-inspired objects.
In the coming week I will be trying out adding colour and surface designs with ink and paint plus making samples with some different papers. Fiona’s classes have been really enjoyable with excellent PDFs, photos and videos and lots of class interaction.
All the online classes I’ve taken have been great fun and very inspiring. They have given me lots of new skills and techniques that I will be able to use in my work. And they have definitely achieved my other objective: they have been really helpful in keeping me learning, focussed and motivated during what could otherwise have been quite a bleak time.
It’s after the Christmas crazy and I feel all out of sorts. There is nothing I need to be doing. Nothing to shop for, nothing to bake for. I do have some nice new teas to try but although they are delicious, that is not really doing anything. I want to yell I’m bored, but my mom wouldn’t hear me at her house and what’s the point of that. So, like many of you, I must kick my own butt and just get on with something. Start with housework, if that doesn’t start you thinking of things to do in the studio, nothing will. After several loads of laundry and digging out the corner of the bedroom where we toss things to deal with later, I had had enough and I grabbed a tea and my sketchbook and headed for the studio.
I know you are thinking but what about your hat aren’t you supposed to be sewing the flower into place and making leaves. Yes, I am but I don’t feel like it. I had a poke through some recent sketches I did. I can’t really draw but I can get the idea down and use it to work from.
I dug out some felt pieces I did as starter pieces. Picked one and started.
First I defined the house. It was just a roof and walls when I picked it. I forgot to take a picture, sorry. I added some windows and the roofline and the corner of the house. Then, strangely I started at the front of the picture with some fence posts. Usually, you start in the back and layer to the front.
With the magic of felt, I just took a picture and then pulled them off and put them aside.
I added some sheep, I bet you didn’t see that coming…..LOL. You can see I decided the house looked more like a barn and changed the windows into a large door. I also by this time decided the blue was water and added a path along the cliff edge.
I defined the sticky out piece of coastline to help with the water effect and check the placement of the fence posts. I decided to keep them straight because the right-hand one is going to be short anyway. I added some different blue to define the sky and some white with a bit of sparkle for waves. There was lots of wool sticking out past the picture edge so I just folded it around the back.
Then it was what to do to finish the fence. This is where the metal comes in. Originally I was going to use thread to be the wire but then I was chatting with Jan about wire and remembered I had this spool of wire. It is a very old spool and I don’t know what kind of wire it is or what it was meant for. It is thin but strong and flexible. It is old, as you can see from the wooden spool but there is no rust. It has a 58 stamped into the top but it’s not the gauge.
I decided to make a real wire fence. I twisted two lengths together and cut 4 of them to stick out past the ends of the picture. I folded them around the edges to hold them in place. I then couched them down with 6 strands of grey embroidery floss to be the fence staples. I think it really works. The whole picture is only 5.5inches (14cm)by 4 inches(10cm).
I did think about making at least one strand of my fence barbed wire. I made one barb, to try it but you couldn’t really see it against the wool so wasn’t worth the fiddling.
My New Years’ Resolution is to do more felt pictures and to try to do them a little bigger. Do you have a Fibery New Years’ Resolution?
Like many of you, I belong to some textile groups that would normally meet in person but this year have needed to find alternative ways to work together. One such group is the Farnborough Embroiderer’s Guild (EG). This EG group is quite unusual in that rather than inviting speakers to talk about their practice, we all take it in turns to teach each other new skills. Three months ago we started meeting via Zoom and I have to confess in some ways I actually prefer it! We aren’t a large group but when we meet in person I often end up only talking to the 2-3 people I am sat nearest to, on Zoom the whole group shares the same conversation which is nice and feels very inclusive. The other advantage is the lack of commute, for me, this means I get to eat before we gather and I can have a glass of wine while we play together 🙂
Last month Sue took us through a technique to create foiled pictures; I don’t know about you but I can’t resist a bit of bling! As we are approaching holiday season it also feels very appropriate to share this with you now, I think it would make some wonderful textile Christmas cards and gifts. I hope you enjoy it and feel inspired to have a go!
Although I have played with foils before it was only as decorative finishing touches never as the basis to create a whole textile picture. Even so, I still managed to make every mistake in the book but was pleased to find foils are remarkably accommodating, if you make a mistake, it can (mostly) be rectified with layering more foil over the top.
Unfortunately it did not occur to me to take photos of the process until I was half way through my picture, I apologise for the lack of photos covering the initial stages of the process. The first few photos are where I went back and reapplied the bondaweb on the beak as my initial application had not transferred completely.
This was the reference photo I used for inspiration:
Some useful tips before you start:
set your iron on a low to medium (1 to 2 dots) setting without steam
always use a sheet of baking parchment to protect your iron
work on an ironing board
1: Cut a piece of medium weight, iron-fusible interfacing / fabric stabiliser slightly smaller than the background fabric and iron it to the back of your fabric. We used black cotton velvet but most non-synthetic fabrics will work (synthetic fabrics are best avoided for this technique as they might melt when heat is applied).
2: Draw out your design with a pencil on the paper side of a sheet of bondaweb. If you aren’t confident drawing freehand, you can trace the design from a printed image. Cut out your design, either as one solid shape or in sections if you plan to create a stained glass effect. For the hummingbird I cut out the whole bird as a single piece.
3: Transfer the bondaweb design onto your backing fabric.
If you are using the stained glass technique you might want to transfer one piece at a time, foil it then apply the next bondaweb shape.
4: Once cooled, carefully peel off the paper backing from the bondaweb.
5: Lay a piece of foil (coloured side facing you) over the exposed bondaweb and cover this with a piece of baking parchment, using the tip or edge of your iron, apply gentle pressure to the areas where you would like that coloured foil to appear.
Allow the piece too cool before peeling back the foil backing.
Tip: you can cut out pieces of baking parchment paper to mask off areas where you do not want that particular colour to appear.
If there are areas where the bondaweb has not transferred so well, or you have already applied several layers foils and want to lay a different colour over the top you can reapply the bondaweb but cutting a shape to match the area, I did this for the edge of breast where I wanted the purple to form a solid line:
If you want a sharp edge in a specific shape, it is also possible to cut the foil to match the shape you desire:
6: Continue adding different coloured foils to your design. If using cotton velvet for the backing it is possible to build up layers of different coloured foils without applying more bondaweb.
Tip: keep the scraps of partially used foils, they can be used to overlay different colours on top of each other very pretty marbled colours.
It is possible to “draw” lines of foil using just the tip or edge of your iron, I used this technique to create the feathers on the wings:
It is not very easy to capture foils in a photo, especially the holographic ones so I shot a short video that I hope shows all the different colours more effectively:
Our group met again last night to add some embroidery to our designs, this is how far I managed to travel in the couple of hours we had together.
…and a little sneak peek of my most recent foiled “painting”.
If you’ve been following my waistcoat sewing adventures, you’ll know I was fairly optimistic I’d have a finished (or, more advanced) garment to show you by now.
The thing is… I’ve hit a snag. After finding out the shoulder area needed more work, and realising the pattern I’d bought was more or less useless, I got discouraged. The major mental roadblock was finding out I’ll probably need to remove all the tailor interlining I’d hand sewn in order to fix the shoulder problem; also knowing my pattern-making skills are still in their infancy and therefore can’t be trusted, isn’t helping.
Of course, I’m nothing if not a great procrastinator, and therefore do have something new to show you.
In my free time (ok, when I’m stressed) I managed to follow a commercial pattern and make a new rabbit, as well as her garments.
She’s got a lovely dress as well as some cute boots, plus a very proper-looking jacket!
The jacket was the most complicated make (I also found a couple of tiny instruction mistakes) but the most fun. She looks cozy, doesn’t she?
I had some leftover material and decided to create a smaller version of the bunny. I’m still undecided on gender. This is important as it will define the wardrobe. What do you think, boy rabbit or girl rabbit?
I had my bunny family sitting on a shelf in my studio. They looked alright there, but… incomplete.
Suddenly I remembered I had a pattern for an armchair, part of the rabbit collection. It looked both complicated enough to be entertaining and simple enough to be finished in a short amount of time. I had to make two.
Well… the pattern had a couple of mistakes (this is starting to become a thing with me, isn’t it?) so I did have to take some time away from it after realising I’d cut the fabric too short in some places. After some consideration, a solution presented itself and I managed to finish one armchair.
I did it in patchwork fashion for a trendy look. I’d never done this type of fabric assembly before, so if there’s anyone reading who understands how it works, feel free to point out any mistakes I might have made.
All in all, I think it came out quite decent, and my rabbit looks comfy and elegant sitting on it.
Now… there’s a tiny bit of felting to be had in this story. See the chair’s rounded arms? The pattern tells me to use some wool batting, roll it up and hand sew in place. I had a better idea: I receive a weekly food box that has an insulating padding made of recycled bottles, and I thought, “this would be a great way to reuse it!” Will it felt, though? I brought out my needles, had a go, and success!
This will be going in the other armchair that I haven’t finished yet. Wish me luck, I hope this second one comes out looking similar, or I’ll have to create a story in my head as to why one rabbit is more deserving of comfort than the other…
So… maybe next post I’ll have a waistcoat? Don’t hold your breath, but fingers crossed.
What have you been up to lately? Any miniature furniture sewing? Tell me all in the comments section.
In my Level 3 Stitch class, we are working on applique this session. After creating an applique using silk organza, I decided I wanted to see if I could combine a nuno felted background with silk organza applique. I thought the texture of the nuno would contrast well with the smoothness of the silk organza.
I created the nuno background with some deconstructed screen printed silk and a piece of white prefelt. I stitched the edges of silk that didn’t adhere down completely on to the back of the felt to give a neater edge (right hand photo). I also shaved and removed any large white pieces of wool on the surface of the silk. This piece immediately made me think of the woods, now on to the applique.
I used the background to help figure out the tree shapes and placement. Here is the silk organza trees laid over the background.
I basted the trees in place and stitched with tiny stitches trying to avoid fraying the silk organza as I went. The photo on the left shows the piece partially stitched with the basting lines still in place on the right side. The right photo is when the trees were completely stitched down. I used a stab stitch and machine weight thread.
Here’s a close up of the tiny stitches. (Click on any photo to see a larger version.)
Next, I started working on the path. I wanted to have a vague path but not something that overpowered the rest of the composition. So I used a variety of green threads with running stitch to create the path. But in the midst of stitching, I kept finding my eye drawn to the black dots over the bottom portion and then in a straight line up into the sky. What to do?
I considered adding stitching to diffuse the black dots but decided in the end to cover them with a paint pen and markers. I have no problem mixing my media, so I used a white paint pen and then covered the white with green marker. I definitely think that helped to take that line of dots away and emphasize the path more. I also added a bit more darkness with black marker so that there wouldn’t be such a straight line of “ground” at the base of the trees.
Next was the decision, leaves or no leaves? I tried a bunch of different types of fabric and ended up using black and green tulle cut into pieces with a layer of green sheer pieces over that. In this photo, the leaves haven’t been stitched down.
Here is the completed piece. It is hard to see the subtleties in a photo but I am pleased with the result. It reminds me of walking in the woods at dusk as the shadows deepen and perhaps you can hear the owls saying good evening.