Month: January 2022

Drawing on Distortion: Give it a Kiss, Because It’s Going to Pucker Up

| ellenanneeddy

One of the issues with free motion embroidery is that it always puckers up. You always have some distortion. The worst is that the distortion is uneven and unpredictable. Sometimes it pulls the piece out of shape or makes it unrecognizable. Free motion objects take a lot of time. It’s heart breaking to have them distort past usability. It’s best to adjust for that from the start.

There’s some time honored ways to deal with distortion. First make the embroidery off the surface of the quilt. It can be applied afterwards with minimal distortion. I will be talking about separate embroideries in this article, although the information works for both off and on the quilt surface.

Stabilizers help a lot. Small embroideries under 2″ use three stabilizers all together. The drawing itself is on Totally Stable. It’s a lightweight stabilizer that irons on and is removeable. Stitch and Tear is the next layer. It’s a stiff tear away Pellon. Then I use a layer of acrylic felt that absorbs much of the stitching. I prefer the thinner versions. I attach the stitch and tear and felt with 505 spray. For anything larger, I use a layer of hand dyed fabric as the top layer.

Do remember that the drawing on the back will face the opposite side on the front. I know, I know. Think of it as looking through a slide backwards.

Now it gets confusing. My drawing layer is on the back. I’m going to turn it upside down to stitch. I’m not going to call them top and bottom. The sandwich has a front and the back. For stitching purposes the front is on the bottom and the back is on top. Got it?

I am using two hoops. Sharon Schamber’s red weighted halo hoop is my very favorite. It has a weighted core and a rubber coating. It grips and the weight supplies support.

Now it’s all up to the drawing. We can’t accurately predict the distortion but we can take some good guesses. To do that we need to look at the zigzag stitch

The zigzag stitch pulls across the stitch. The more layers of stitching, the more distortion. For a larger piece, you need to draw to adjust for that distortion. Mostly that means that things need to be a lot wider and bit longer. But you need to analyze the drawing to see where the distortion is likely to be bad.

So if you’re doing a straight zigzag stitch down the legs, it will shrink in the width. You’ll want to make it a bit wider there so it doesn’t become pencil thin.

Bird feathers end with a band of stitching around the end of the feather. Again, making the feathers longer and a bit too wide gives your a bit of extra space there will help eliminate the shrinkage effect.

original image
adjusted image
new traced image

I’ve elongated the wings and body on the kingfisher. I wasn’t able to get it completely embroidered to show you, but you can see the shrinking on the feather and the wings

back side of bird mostly embroidered
front side of bird mostly embroidered

It’s not a science. But you can hedge your bets for your best look. Keep watching my face book page to see how this bird looks finished.

What happens if you guess wrong? Several things. Sometimes that wrong guess works better than a correct guess. Sometimes I cut into an embroidery and anchor it with stitching to address the error. One thing is certain. Perfect happens somewhere else. I’m content with beautiful.

But Where Will It Land? The Spotlight on the Background

| ellenanneeddy

I’m a long time hand dyer. I started dyeing fabric when I was ten. My fabric is sponge dyed, which means it can include endlessly different shades. It creates a light source and a small world in itself. What I’ve been reminded of this week is that the background changes everything. It isn’t like you take the elements for a quilt and just transfer them over. The background has an opinion of it’s own. And it demands different things.

This week I embroidered a green heron. I’m pleased with it. Because it worked out so well, I found myself fussing over the background. Originally I tried this background. I liked it. It had an excellent place for a stand of lady slippers. It was right with a moon. I pinned up the heron and watched it disappear before my eyes.

It broke my heart. I thought I knew what I was doing. I went back to my fabric drawer and found several more pieces that might work.

Second green background

There was a green background that gave a little more contrast with the bird. I moved the rocks over on it. Hung it up. Pinned on the bird and found it disappeared there too. There was a huge chrysanthemum clearly in the piece. But it was wrong, wrong, wrong.

Red background

So I pulled out the crazy fabric. Two bright pink/purple/red pieces. It changed the season. The red one needed swirling leaves and a muddy pond rather than a blue one. And there was a sort of “where’s the fire? quality to it.

The darker of the pinks was sort of crazy but fabulous. The bird popped. And it desperately needed fish.

Purple background

What am I doing now? Drawing the fish for it. Not so many but some. And falling leaves. Go figure.

Fish drawing

And it appears this has started me onto a series. I have the backgrounds all prepped and ready. I think I need a kingfisher and a blue heron. Back to the drawing board. Quite literally.

Diving kingfisher. I think it’s the next step.

I could use any kind of fabric. But hand dye is the only fabric that helps me design this way. It’s bossy. But I’m willing to listen, because it gives really good advice.

I’ll Be Feathered: Creating Feathers in Thread

| ellenanneeddy
Green heron

Feathers are perfect subjects for thread. Birds too, but there are many kinds of feathers, defined as always by the angle of the zigzag stitch.

I’ve been working on two birds this couple of weeks: a green heron and a goldfinch.

Goldfinch

It starts with a drawing. This is a drawing on Totally Stable. It goes on the back of the sandwich so it’s my pattern.

The head and underbody of the bid are soft overall feathers. These can be made with a back and forth zigzag stitch done side to side. Layer after layer of thread blends the colors.

Underbelly and leg
Head
top section of wings

The upper part of the wing follows the arc of the feather, shaded with the side to side zigzag The feathers are lined with gold and soft yellow to define them.

Pinions

The pinion feather stitching is made with angled stitches down the feather with a curved arc at the end.

The streak

These feathers have a streak of yellow defining the quill.

Quills do

All in all the stitching separates the kinds of feathers. And creates a bird made strictly of thread and stitchery.

Romancing the Rose

| ellenanneeddy
Dragonflies and roses

Commissions force us to do many things. I don’t do realism well. Realism is why God made cameras. Art isn’t limited to realism. But there are people who love it. And need it. Truth to be told, l’m not good at it.

So my birds have purple and blue in them, and so do my frogs. It’s part shading, part colors building.

Dragonflies and roses detail l

I tend to make roses on spirals. It’s the way petals unfold.

Sometimes I let the tails spiral out. I like their motion. I’m told it’s not very realistic.

I have used rubbing plates for a more real rose. This is oil paint stick on hand dyed fabric. Outlined in metallic threads.

Lately I’ve tried roses with the points trimmed away or tucked in.

Will they be realistic enough? That remains to be seen. But they are probably as real as I can get.

The Standard Size: Letting Art Be Art

| ellenanneeddy
Dancing in the Dark

I was talking with a dear friend this week, over the holidays and we discussed all of our new work. I’ve been unable to leave the visual/vertical paths alone this year. She told me she had been working on smaller things. We’re both of an age. Wailing a huge quilt through a sewing machine is past aerobic. But it occurred to me: We only make bed size art quilts because we still think of them as quilts. Shows define them as bed coverings/ linens. We make them as art. But we are still restrained when we show them to think in terms of bed sizes.

That’s simply awkward. What I make warms from the wall visually. It’s not made to be lain on. Metallic thread will vigorously defend itself from anyone who wants to use it on a blanket. So will organza, or stabilizer, or angelina fiber. When I make a quilt, it’s made for someone to snuggle into. It’s pretty. But it’s made to be a bed linen. When I make a tapestry, it’s made to glorify the wall.

Just practically, it’s sort of hard to find a queen size wall to hang an art quilt on. The standard bed sizes are made for beds. I see nothing wrong with that. But I look forward to the day when we understand that excellence is not measured in size, that standard size only works for some things, and that a piece of art always is measured by it’s impact, not by following size requirements. And that normal is a setting strictly on the drier.

We may have come to that, one by one as art quilters , fiber artists, and contemporary quilters. I’ve always skirted the world as a quilter. I work in, three layers ( at least) sewn together, so I fit under that description.

Art is not about practicality. It is about seeing and building the beauty in our lives. Sometimes our lives are our art. We build our lives in ways that make us whole, make us sound, make others happy, make us strong, whole, and joyous. Sometimes our art is our life: those moments where we live and breathe in what we can make visual out of imagination and the things around us. But either way, they are our birthright. We are artists just by way of being human. We do art, as we can when we can. But we are artists because we live and breathe in a world we impact with what we see, what we dream and what we do.

For this next year, I wish your art to kindle the fire of hope, creation, joy, passion and warmth. Without needing to fit any standard size or expected purpose. I hope you art shines just as it is, just as you are. Just as we all are. In Imagine Dei.