Thermal Shock: Eye Opening Color

| ellenanneeddy

One of the hardest things in embroidery work is to get over the match instinct. After years of perfectly matching thread to my project, I’ve had to learn to pick out the highest contrast threads to make an image that really shows up.

In embroidery, contrast is everything. If it all mushes together color-wise, then you have a very mushy image indeed. Smooth color exchanges that are analogous and sit next to each other on the color wheel are pretty. But they don’t have much punch. So what you want is color that builds not on similarities but on differences. There are several kinds of contrast: color, tone, clarity, and temperature.

Today we’re talking about color, which is simply the hue and temperature. Is it red, blue, or yellow? Or an odd shade of green? It’s not as simple as it looks. There are a million reds, blues, and yellows. They are not the same.

Thermal shock is about the temperature of a color. Every color, no matter whether it is a cool or warm color, leans either towards having a cool or warm cast. It doesn’t matter if it’s a cool color or a warm color. There are cool yellows, there are hot blues. If all the colors are either cool or warm they’ll flow into each other like analogous colors. But if they’re not? You get thermal shock. It’s like standing in a cold-water sprinkler on a steaming, hot day. The effect is kind of visually electric.

Blue and Yellow Don’t Make Green is an excellent book explaining thermal variations and how that creates differing colors. It’s set for watercolor, but it applies to all color theory. It’s a worthy book.

So along with the different hues, there are shade and sun versions of primaries. I’ve been playing with them on this phoenix.

I wanted this bird to jump off the surface. I’d decided to outline with in a yellow that leans into the sun to give it some definition. But I wanted it showy. So the colors I picked, cool orange, cool and warm yellows, cool and warm blues left it shimmery and gave it impact.

So here’s another contrast. All that bright sky and bird against misty grey clouds.

For a final contrast, I put small trees up and down the river, to have that clear cool green against all the soft clouds and the fiery bird.

Always look for contrasts. Blending is beautiful, but to give a piece impact with something as small as a line of stitchery, you need heavy contrast, either in hue, value, or temperature. It creates a pathway through your quilt. But it also makes your stitching shine.

I Need Your Help

| ellenanneeddy

I’m starting a Patreon Page.

Many of you have probably had classes with me. God bless you for that!  I love my students for their enthusiasm, their creativity, their generosity and their company. We’ve all been on this journey together. I’ve watched us reach for stars, and sometimes catch them too. We grow with our art, by our art,  and through our art.

But time catches up. I don’t really teach at guilds anymore. The travel is too hard. That doesn’t mean I’m not growing through my art. I’m still finding new things to do and new ways to do them. ‘And I always want to share them with you.

There’s another downside to not being able to travel. I’m in danger of losing my studio. Because I’m not teaching on the road, I don’t have a steady source of income.  I understand it. We’re in a tight economy, and there isn’t always money for art.

So it seems we need to find new ways to do that. I do have a blog. I share on Facebook and Instagram, but I want to give you access to more. I want a place where you can get class booklets that are currently unavailable. Or look up a technique and see it demonstrated step by step. I’ll offer small projects that make a big difference in your skill level. I’ll feed you lots and lots of eye candy. I want to welcome you to where I live, in my studio.

If you’re unfamiliar with Patreon, it’s a platform where you can support me and I can share with you. You become my patron in whatever level is comfortable for you. There is a free tier as well. It’s a small and more regular way to keep art going and to be part of that art.

I’m currently working on a book called In The Studio, which is about the process of creating fiber art. Not the cleaned-up version. I want to show the zigzag process of design and creation. I’ll be offering this book live as I write it so you can see it first.

As a community, quilters have supported me in ways that still stun me. And when I come to you with a need, you’ve all responded so kindly. I would not have become the artist I am without your kindness, care, and support.

So what would you like to see? I need to know. I’m offering books and articles that have become unavailable, project and technique articles and videos, early access to In The Studio, my current book project, live question-and-answer sessions, mentoring, and quilt points where you can purchase a quilt with your Patreon contribution.

I want to honor that support by starting a quilt point program. Every dollar you send me through the Patreon Soar tier goes toward any quilt you wish to purchase. In love with a special quilt? Tell me, and I’ll hold it for you.

Are you interested? What can I offer you? Will you join me?

Join Now!

1212-26 Her Royal Shyness

| ellenanneeddy
1211-26 Her Royal Shyness Octopus’
Garden Series
34” x42”
$3,570

Materials:
Hand-dyed cotton, felt, stabilizers, commercial sheers, polyester, metallic, nylon threads, oilpaint stick
Techniques:
Machine pieced, machine embroidered, embroidered appliqué, quilted, texture rubbing,  hand dye, cord binding, direct appliqué

Purchase this quilt on Etsy!

1211-26 Drifting

| ellenanneeddy
1211-26 Drifting
44” x38″
$ 4,080
Materials: Hand-dyed cotton, felt, stabilizers, commercial sheers, polyester, metallic, nylon threads, oilpaint stick
Techniques: Machine pieced, machine embroidered, embroidered appliqué, quilted, texture rubbing,  hand dye, cord binding, direct appliqué

Purchase this quilt on Etsy!

The MAP Kids: Opening Last Night at the Peoria Art Guild

| ellenanneeddy

The MAP kids had their opening last night. Due to car troubles, I couldn’t be there. I’ve taught in this program, and I try to make that opening because it’s a teachable moment for the kids. They see their work celebrated on the wall, and I usually go to the opening and ask them, one by one, to show me their pieces, so I can tell them how wonderful they are. Art is hard. People aren’t always kind. We need to spread that kind of kindness prophylactically against the cruel way people treat kids art. Since I couldn’t be there I sent this note.

The MAP program is an opportunity for teens to study with a number of different artists as mentors. It’s a wide-open learning experience, not from art school, but from people living their art. It’s a free program the Peoria Art Guild offers each year to a select group of young artists.

Hit! I can’t be here tonight to celebrate with you over the wonderful things you made this year. I am so sorry. Our car broke down last night in a way that will take some time for us to get it running. I can’t get there.

I always try to come to the MAP show, because this program is fabulous. Not just the art you make. The way you remake yourself is also fabulous to watch. It’s hard to move to different media and techniques. But it hones your skills and stretches your ability. It changes you. It sets you on different paths. None of that could happen, without your courage, commitment and determination to try things. You’ve done all of that.

You will have people in your life who will either indulge your art or ignore it. They’ll tell you that it’s nice, but not practical. Or necessary. They are wrong.

Art is where we create emotional literacy. Our ability to thrive and survive comes from rewriting our stories in ways that make sense to us, that make us more able, that give us joy and peace, even in chaos, Our art does that. We interact with an image, and it retells the story. Not just for ourselves and our own growth. But we, as artists do it for others as well. People are changed by our art. It incites them with new thoughts. It heals old wounds by seeing them in different lights. We change the world with our art. It doesn’t matter how many people see our work. The person who needs to is right audience. We are the light of the world.

Tonight I hoped to walk with each of you and ask you to show me your pieces. I wanted to tell you how proud I am for you, that it was an honor to have you in class, and that I am waiting for the magnificent things you’ll do next. I hope you have the patience to grind through the practice it takes to hone your skills and find your voice. I am honored to have worked with you.

Congratulations!

All my love,

Ellen

I’m sharing this with you because perhaps you might need to hear that as well. I do too. We’re artists. We hold each other up.

You’ll find this fabulous show through July 31st.

Peoria Art Guild
203 Harrison St,
Peoria, IL, 61602,
3096372787info@peoriaartguild.org

Am I Biased? Making an Angular Border

| ellenanneeddy

In working on the Octopus Roclets. I’ve felt a need for angles. They just do’t stay still. And the easiest way to make something feel like it’s in movement is for it to be at an angle.

Which angle? They do read differently. I want to try an isosceles triangle, made from an elongated rectangular strip. I think it will add to the movement of the piece.

Angles mean bias. We talk about fabric being on the straight of grain. If you tore a strip off the fabric, that strip is the straight of grain. That’s a fairly stable piece of fabric. It will stretch very mildly across the width and not at all in the length.

Here’s the definitions of bias from ai on Google.

Fabric bias is any diagonal direction across a woven fabric, while the “true bias” sits at a precise 45-degree angle to the lengthwise and crosswise threads. Cutting or binding on the bias gives the fabric natural elasticity and a fluid, body-hugging drape. [1, 2, 3]

Understanding Bias

True Bias: The diagonal 45° cut between the two; this is where the fabric is most stretchy and flexible. [1, 2, 3, 4]

Lengthwise Grain: Runs parallel to the finished edge (selvage) and has almost no stretch.

Crosswise Grain: Runs perpendicular to the selvage and has slight give.

If we cut our borders across at an angle, that edge will stretch because it’s bias. We really don’t want that. Bias stretches out and makes for wavey borders and seams.

Controlling Bias

Accurate cutting will help. I need to square up my center and use my rotary cutter to make clean edges. But the secret weapon is starch.

Starching your fabric makes it stitch better. And it makes it stretch less.

Here’s the mock up I did to try this out.

Making angled borders

I used:

A center rectangle or square.
A strip of fabric twice the size of your border and a bit longer than your center piece

Liquid spray starch,I’m using Linet Starch.


Tools:
Rotary cutter, ruler and mat
Sewing machine with straight stitch and quarter-inch foot
Iron or rolling seam presser

I starched the two fabrics with a solution of 1-1 starch and water

I cut the yellow strip in half and then cut the strips fro corner to corner diagnally.

For more information about starch, see Getting Fabric Straight.

I pressed my seams with a rolling seam presser

I trimmed my edges square to make

a slightly angled background.

I’ve added shell and rock rubbings to the bottom

Here’s where we think the octopuses will go.

I’m still deciding about that. But I’m happy I tilted the background. It creates the motion I wanted.

More Pop Octs: Dancing with Design

| ellenanneeddy

This has been a rough week of a lot of medical appointments. Nothing bad. Just exhausting and demoralizing. So last night I had a serious dose of color therapy. I watched Yellow Submarine.

This is the best color therapy movie I know. I’d add Fantasia and Avatar to that list as well. Who cares about plot? Endless mixes of impossible color combinations. I’m still half drunk.

If you asked for a description of the color theme, I would say it’s full-color-wheel bright.

But it’s also an outrageous usage of way too many tertiary colors running amok. I’m in love.

I’ve stitched the rocket octopuses. I started with a background that reminded me of confetti yarn, bright bits of color on a soft background. So my octs had to be bright where the background was softer. I’m thinking of calling them the Octettes.

But now we’re at the fun point. We get to create the design.

This is the first pin-up. I do several pin-ups with each piece. The first pin-up is just the background and the creatures. With that pin-up, I’ll know my colors, my path and where the creatures interact with each other and the viewer.

The second pin-up is after I add the elemental bits. Usually these are sheer unless they’re rocks. Water, rock, air currents, sunlight. It’s also where I add small elements that help establish my visual path. I’m thinking gold and orange fish.

The third pin-up is my final design. After I do the third pin-up, I’m ready to stitch. And my options are in stone.

So now I can try it all out. Different backgrounds, different octs.

If it’s just one or two possibilities, I pin it up and shoot photos. Here I had a bunch of choices so I photoed the elements and put them into photoshop. It’s a cheap thrill, but it’s much less aerobic.

Here are the ones I like best. I really like the ones swimming in opposite directions. The ones weaving tentacles work best on the larger pieces of fabric. I’m still not sure.

I’ve done this before in a blog called Pin Up Girls: Family Planning for Octopuses. There I was trying out a number of different quilts. This is just one. But it is a good way of looking at options, without having to pin everything up physically.

What do you think?

Popping Up: The Pop Art Element

| ellenanneeddy

I’m not a very abstract person. I’m not good at reducing forms or working without a visual reference. Of course, I’m not always wedded to reality either. I believe that when we stray from a photographic reality, who we are, what we mean, and what we see have a way of coming out to say, “Hi!” And a lot of other chatter as well.

For a long time, reality was the task of art. Up through the Renaissance to modern art, we’ve lauded the ability to make something that looks real. I find that wearing as an artist. If you want complete realism, you probably want photography. You’ll see your image just as it is. Once we had photography, realism stopped being a goal and became something accomplished.

Photography works for the surface. It fails me for movement, for mood, for expansion off the canvas, and for the feeling it gives me. I have nothing against photography. But it usually leaves me a little cold.

So once we left realism as the only goal, there was room for all kinds of experimentation.

One of the experiments was Pop Art. There were many versions of this. One was to repeat an image in rows or patterns in bright colors. This is Andy Warhol.

Andy Warhol, Converse Tennis Shoes

I’m not interested in tennis shoes, but I do want to see what happens if I put repetitious octopuses in bright colors together. This is the first octopus. The plan is to put four together. I’m not sure if I’ll use rows or weave their tentacles together.

The colors on the octopuses echo the hand-dyed fabric I’m using. They have a light source that shifts the colors through the tentacles.

Here are three more in different states of completion. When we’re done, we’ll see what pops up.

Going Straight: Stretching into Different Stipple Patterns

| ellenanneeddy

I’ve been working on the octopuses for around five months. There are seven in all, five finished. I’m pleased to say they make a good start for a show.

But I don’t want quilts that look like the same pieces, only in different colors.

What defines a work? Certainly subject matter. Certainly color. But textures also make pieces stand from with each other.

I’ve leaned heavily into oranges and blues on this collection, but I think there’s a good range of colors. The background is always the color of your sky, the mood of the piece, and its definition

The octopus’s garnet stitch texture connects the grouping.

Something more subtle separates them.

The stipple treatment establishes the movement of the water, but it also visually separates the pieces from each other.

Confession. Left to my own, I have three stipples I use. I really felt I needed to stretch a bit here, particularly because I want the quilts in this series to stand up as separate works.

Version 1.0.0

Leah Day’s book, 365 Free Motion Quilting Designs has become a go-to reference for me. I don’t feel a need to copy her designs, but it’s full of a lot of stimulating ideas. It’s one of the few books I store right by my machine. It’s a worthy resource. I turned to it for some different stipple ideas.

I almost never do straight lines in my work. I’m not very good at them. But I love the bubbles and stripes here. It’s almost like wallpaper for the quilt.

Here are details of the other quilts, showing the different stipples.

Leah’s book is a lovely springboard into other possibilities. It’s available on Amazon

So I went straight on one of them and survived. Maybe I can do straight lines.