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Connections: An Exhibition

Connections: An Exhibition

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.

Recycling Oyster Shells: Turnstone at the Royal Native Oyster Stores, Whitstable

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.

Another paper felt shape, inspired by shells, with pleats and nobbles made as a result of Fiona Duthie’s workshop

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!

My display area

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.

Online Learning: the new and the unexpected

Online Learning: the new and the unexpected

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.

https://feltingandfiberstudio.com/2021/01/21/finding-focus/

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.

Corriedale Backpack with Canvas Straps

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.

Hand dyed 14 micron merino pendant with pebbles: Aniko Boros’ workshop

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.

Paper felt shell-inspired vessel

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.

A picture with some metal in it.

A picture with some metal in it.

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?

Fun with Foils

Fun with Foils

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”.

Have you tried making foiled paintings?

More sewing shenanigans (but still no waistcoat)

More sewing shenanigans (but still no waistcoat)

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.

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Here she stands, in a corner, mocking me…

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.

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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?

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Made from scraps of felt. I’ll probably change those weird eyes!

I had my bunny family sitting on a shelf in my studio. They looked alright there, but… incomplete.

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My studio library isn’t fibre-centric at all…

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.

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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.

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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!

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Needle felted plastic, who would’ve guessed?

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.

 

Shades of Green – Nuno Felt with Applique

Shades of Green – Nuno Felt with Applique

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.

 

Jewellery Challenge

Jewellery Challenge

It was great to see that “Jewellery” was the subject for the 2020 first quarter challenge. I love making felted jewellery, whether that’s pendants, bangles or brooches.

This choker style necklace is wet felted Superfine Merino.  It came about because I’d got some small offcuts of a very thin felt left over from a collar.  Rather than throw them out (perish the thought!) I had the idea of sewing each one down the long edge, to form tubes, and then use them as “beads”, threading them onto a felted cord.  To keep everything in place and avoid them slipping on the cord I attached small beads, sewing right through front to back.

The only problem is that when I try to wear it the cord slips around and ends up with the fastener at the front…..obviously the heaviest part finding its way to the lowest position!  Fortunately the cord is long enough for me to correct this so I’m going to have to cut the fastener off, slide another “bead” on and join the cord under it.

Another drawback with wet felted Necklace cords (or at least with mine!) is that, no matter how hard I full them, they do tend to go fluffy quite quickly.  To get around this I’ve started wrapping my cords with a machine zigzag stitch.  I’m finding that this makes them much more durable and also the stitching gives another dimension to the pendant/necklace.

This challenge also came at the same time as I was working on some ideas for quick and easy mixed media jewellery.  These next three pieces are a great way of using up small scraps of paper and fabrics plus any embellishments you might have lurking in the back of a drawer!

The rectangular pendant was made from heat distressed Tyvek which I’d first painted with metallic acrylics.  I’ve embellished it with pink, purple and mustard colonial knots and a few bronze seed beads and strung it onto a rubber cord.

The next pendant was made from tiny scraps of polyester velour fabric, backed with Bondaweb and ironed onto a painted, pelmet vilene background.  I’ve added beads, metal washers and a couple of “danglies” from a broken necklace.  The cords are two lengths of knitting wool which have been machine wrapped using the zigzag stitch.

This larger pendant is my favourite.  I’ve kept it very simple using a dark grey cotton velvet furnishing fabric on a pelmet vilene background. I’ve sewn on brown craft paper, scrunched and painted with black acrylic to give it a leathery look, and added a metal trim, wooden bead and two smaller metal beads.  The back is also covered in the leathery craft paper.  Again the cords are simply wrapped knitting yarn but these are much longer than they look in the photo so the pendant hangs below the bust line.

Although we are living in strange times with social distancing and having to isolate, as long as we can maintain our motivation and continue to feed our creativity we will be doing ok!  Stay safe and have fun!

Fabric Collage Landscape Part 4

Fabric Collage Landscape Part 4

This is the last in the series of posts about the fabric collage landscape that I have been creating. If you have missed the prior posts, just click on the links: Part 1, Part 2, Part 3. I began working on the foreground by fusing the green fabric to the foreground and creating some rocks.

I used a dark purple fabric for the shadowed parts of the rocks. Then I created some paper patterns for the sunlit areas. I wanted to try and get the perspective and shape of the rocks correct before I cut any fabric. I only had a small amount of the light purple fabric and didn’t want to run out because of poor cutting choices. So I kept refining the paper pieces as I went along.

Once I had the rocks started, I began stitching the trees along the near shore line. I used cut up bits of dark green fabric and then stitched over them. As I said in previous posts, the fabric shifts around and so I wasn’t able to be precious about placement of the fabric. I think this is why it looks more natural because I didn’t have a lot of control over where everything ended up. You can see in the photos above the progression from left to right of the trees and then added a few more moving into the foreground. I actually probably should have done the ground cover first but I didn’t think of it.

So then I added in the ground cover. The part that is further away used a duller color and I used a piece of cheesecloth that had also been rusted. So that gave the rusty color which I think really adds to a more natural look. I kept testing the rocks as I went to see how everything was coming together. I also added a brighter green ground cover in the center foreground where the rocks are sitting. Again, it was a combination of chopped up fabric, thread and yarn.

Next was to create the rocks with fabric. The center photo shows how I added a sheer layer of painted nylon organza to achieve shadows on the rocks. The right photo shows all the rocks completed and fused down. Now on to add stitching details to the rocks.

I started with a dark grey thread in the shadowed areas of the rocks. All of the stitching is done with free motion machine stitching. Then I added black thread as the rocks definitely needed more darkness. The last thread I used was a light purple thread for highlights. I did go back in in several areas and add more grey to get the effect I wanted.

The last step was to add greenery to the rocks on the left. I used chopped up fabric again and carefully stitched it down. This was a bit tedious as the pieces of fabric were jumping around all over the place but I managed to get them all stitched down.

So finally, I have a finished fabric collage landscape. It was a lot of effort and took a long time but I am pleased with the results. I am still contemplating what to call this one. I am planning on framing it with a matte board and black frame. Thanks Antje for giving me the “push” to create this piece. I had a great time working out how to do it and I think I will be doing more of these in the future.

Fabric Collage Landscape Part 3

Fabric Collage Landscape Part 3

Here’s the next edition of my progress on the fabric collage landscape I have been working on.

In the photos from left to right, I worked on texturing the middle ground green area. I used a mixture of chopped up pieces of fabric, thread and yarn. I worked small areas at a time since the fabric mixture was easily shifted around as I machine stitched it. Using a wooden skewer to hold things in place definitely helps and protects wayward fingers. Once the green was all stitched in place, I noticed that the water on the left didn’t look exactly right. The portion of water going into the distance towards the left should have been shadowed by the hill behind it and not had any pink reflection. I needed to fix that.

So I covered that piece of water on the left with more of the blue green water fabric, stitched it down and then stitched along the edge of the shore and into the pink reflection to integrate it into the area better.  I also added a few more fingers of purple sheer fabric into the water on the left in front of the peninsula. Then on to more stitching details along the shoreline.

You probably can’t see a lot of difference in the photo on the left but I added black stitching along the shore line to give a bit of shadow at the water’s edge. Then in the right photo, I used a dark green thread to add some details including tree shadows into the water and little “island” bits and tree shapes on the peninsula portions.

Next I checked the green foreground again to see if I needed to fix anything else in the completed parts before I started the foreground. Another water error was definitely in evidence. Water should look like it is lying horizontally to the horizon line. My water was falling down the front because of the pink lines that were diagonal instead of horizontal. My stitching lines should have been more horizontal as well but they didn’t show as much as those pink fingers. Those needed fixing!

I used some scraps of the red sheer fabric and filled in the areas so the diagonal pink fingers were disguised. This looked much better and I was satisfied with the background and mid ground so now to move on to the foreground. Stay tuned for the next edition!

Fabric Collage Landscape Part 2

Fabric Collage Landscape Part 2

Continuing on with the saga of the fabric collage landscape, I am steadily working my way down the piece.

I added texture to the mountains including threads, yarns and bits of cheesecloth.

I then stitched the bits down with free motion machine stitching. The trickiest part here is keeping everything in place but I just didn’t worry if things shifted. I kept going and moved things back as needed and just got it all stitched down.

I decided the grey cheesecloth was a bit much on the central mountain and added more brown cheesecloth on top. Then I stitched that in place.

Then I discovered that I didn’t like how the orange cloud and the distant mountain were so much alike. I tried stitching some darker thread on the mountain first and that helped.

But I thought it still needed a bit more attention in this area, so I added more blue stitching into the sky. I didn’t want to eliminate the orange, I just wanted more distinction between the sky and the mountain.

Next up, the central mountain needed a bit more detail. So I stitched some vertical dark lines in place. The trick is to add enough detail to get the impression you want but not to over do the distant mountains. The detail needs to be less here than in the foreground of the picture. (I just noticed that I must have stitched this part before I stitched the sky but you get the idea, I hope.)

 

Next up, I put the green mid ground in place and worked on the water. The sunset reflection had felt a little dark so I place a piece of light blue fabric in that portion instead of the blue green going all the way across. I then added a blue purple sheer fabric covered with a red sheer fabric. I messed around with the edges to make them look more natural. You can see here on the left if you look closely that there is a straight line going down the right side of the sunset reflection, that is where the blue green fabric butts up against the light blue fabric. I cut that edge in V’s so that wouldn’t catch my eye so much. I also played around with foreground fabric to see how it would eventually look with more green added at the bottom of the picture.

I then stitched the water into place. I wanted the water to have minimal stitching and texture so it would appear flat against the rest of the textured landscape.

Then I added the green mid ground pieces and fused them down with the iron.  You will notice that there is some white in one of the green mid ground pieces. The original photo that I was inspired by had snow in the mountains. In the end, I decided not to have snow in my picture so that will be covered up soon.

Next time I will show you texturing the green mid ground and some changes I ended up making to the water. Luckily, this is a forgiving process so mistakes can be covered up pretty easily.

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