series

Turning Over a New Leaf

| ellenanneeddy

We’ve talked about ways to make leaves more real. Leaves are wonderful shapes in themselves, but because they bend and fold and move, they add movement to your piece.

I’ve been working on a fish quilt that I wanted to frame roughly in kelp leaves, and it seemed like a good study on making leaves fold. Kelp is a water plant that bends completely to the movement of the water. But it has a definite back and front. We’re going to experiment with making the leaves fold for this quilt. Here we have just raw cut leaves.

I can see some purples in this as shadows, perhaps, but what I really want my thread color to do is to define the front and the back of the leaves. I intend to stitch the edges pretty heavily, so I’m going to do the leaves separately. I’ve cut leaves freehand from several scraps of green and glued them to felt with Steak a Seam 2. On the back, I have Stitch and Tear which is a crisp tear-away non-woven interfacing. So my embroidery sandwich is my hand dye, Steam a Seam 2, and Stitch and Tear.

I took a piece of the release paper from the Steam a Seam 2 leaf cuts and have folded it in different ways so you can see how that affects the leaf. The front side edges will have heavy crenellation on them. The back sides will be smooth where the folds are.

My thread zones are back and front sides. The front needs to be bright/dark /intense colors. The back needs to be muddy, greyed, soft colors.

It seems like the fabric should define the leaves completely, but I’ve found that’s never really so. What defines much of the leaf color is the thread. If the thread is purple it’s at least a purplish leaf. Sometimes that’s the way to go.

stitching the leaves

Here’s a video showing the crenelated stitched edges.

The leaves fold in the water. On the front side, their edges are crinkled and bright. The edges on the back sides are smooth and greyed out. once they’re applied to the quilt I can take sheers and lace and overlay them with water so they look wet.

Here are some of my separate leaves, made to fold in the water.

I’m not so sure about this layout. I think I need to leave it on the wall for a while and see if I have the placement right. I may have overdone. But since nothing is stitched down, nothing is written in stone. I’ll see how it looks in the morning.

To explore more ways to make leaves check out my previous blog post, Over and Under

Flamingo Legs and Other Troubles: Designing for Smaller Images

| ellenanneeddy

Free motion stitching is versatile. One of the graces of working free motion is the effects you can get with the stitching, just out of the angle your fabric goes through the machine. It’s about filling in space.

I’ve been asked by someone to do a flamingo quilt. I’d been hesitant in general to quilt flamingos because they’re a signature piece for Ann Fahl who won at Paducah with an astonishing work called Flamingo Garden. I haven’t wanted to step on her turf. I hope she won’t see my working on a flamingo in that way

But as soon as I started to look at flamingos, I was hooked. The colors are eye-popping, after all those properly grey birds and they are outright silly. I’m in love.

So I drew up three flamingos bathing. These are much smaller birds. They’re around 18 inches as opposed to 40″. Their impact is different and the coloration on them has to be different. It makes sense. If you’re filling in less space you have to cut out some of what you’ve used to fill in a larger space.

There are several ways to do that. One is to use fewer colors. When I choose colors, I choose the darkest of the base color, then a shader color, a range of the base color dark to light, a shocker, and then the lightest of the base color. That range can be massive. It’s not at all uncommon for me to use 60 colors in an image. But for these little birds, it has to be less. I ended up using about 20 colors

The other way to expand the space is to use a smaller zigzag.

Finally, I used a straight stitch instead of a zigzag stitch for the detail overlayer.

Every piece is different: in size, in coloration, in stitchery. But I’m pleased with these little birds.

Wake It Up! Sparking Color With Overstitching

| ellenanneeddy

I love creating color with thread. The threads available make an endless choice of colors. You’re eye blends the bits f thread that peek out from their layers. It makes colors that are rich, dense, and complicated. What’s not to love?

But sometimes it gets too monochromatic. I was working on this heron and I wanted some fish companions for him.

When I picked out my threads for these, I wanted them red to stand out from all that grey in the heron. Red is funny. Like every color, it can lean either to the sun or the shade. A balanced red would use threads of both tempuratures. I used both kinds, a little purple and teal for shaders. And I threw in a green just to spark it.

By the time I got to the green, the whole mass was bland. Pretty. Stripy. Bland. I put in the green and it just woke up. Then more reds and finally oranges.

The green stitching on top is garnet stitch, in small circles. It changed everything!

Yellow overstitching creates a swirl on the fish face that helps round the face. Overstitching adds a color layer, but it also breaks through that bland smooth color.

It helps, of course that the yellow complements the purple, and the green complements the reds. But the textural elements also wake up the fish and feed our eyes.

Year’s End

| ellenanneeddy

What can you do with your days, but work and hope. Let your work find your dreams through your play. What can you do with each moment of your life, but love till you love it away.

Bob Franke, Thanksgving Eve

It’s the end of the year. I don’t always pay much attention to that. Every day is a studio day, and everything else is pretty much second to that.

Three years ago, I thought I was done. I thought I wouldn’t go back to my art. I had lost so much and I didn’t see a way back.

Then three things happened. I sold a major quilt I never expected to sell. It was big, it was odd and although I loved it, I knew it wasn’t within the mainstream. But it sold.

I told Don, and he turned to me and said.” Do you want a studio?” “I have a room,” I said. “No. A studio. He gave me his old house as a studio. And because we’d sold the quilt, there was enough to make it into a studio.

That changed everything. Between that sale and a place to work, God, or the universe, or just two people told me that it was not over and I should go back to work. And that they believed in me. I have no words. Thank you is inadequate.

Art is about finding beauty, finding sense, finding ourselves. It’s about retelling our stories. Sometimes your life is your art. You pour yourself into what you’re making. Sometimes your art is about finding ways to make your life beautiful and more sensible. Functional. It isn’t that some of us are artists. That’s for all of us. It’s our birthright as human beings that we are many things: a drummer, a potter, a writer, a musicial, a mother, a gardener, and among all of those, an artist. As we live we switch through seasons of doing art and living our lives as an act of art. It really is genetically who we are. Our art defines us and redefines us, but essentially, it retells our stories until they make sense to us.

So here is the bulk of my work for this year:

Bird quilts 2022

In all, it’s a year when I made over 200 square feet of quilts. I had a show at the Cove Center in Havana, Il. And I showed off my work at Feed Mill Fabric and Quilts, and at the GAlesburg Art Center. And I could. Why?

Because of the support I got from you all. When you follow my process, share your own journey, purchase a quilt or fabric, let me show, you aren’t just interacting with me. You’re impacting what I can do in the future. You are making resources available that make my art possible. Again, thank you is inadequate

Other quilts

Small Artifact Quilts

For that, in return, I try to give you back my art, my process, my knowledge, and my love. It’s small, but it’s what I have. And it’s mine, only because you’ve given me yours.

To Don, words are completely inadequate. But I’ll make you fried mushrooms tonight. It’s a sign and a symbol. And it’s art into life.

IRidescent by Accident

| ellenanneeddy

Nothing is quite as daunting as a really large embroidery. This babe is almost as tall as I am (4′ 10″). I haven’t measured him yet, but he doesn’t fit on a yard of fabric and we’ll have to sort that out soon.

Part of what is daunting is seeing the whole on a piece like this. Part of it is that when things go through that awkward half-embroidered stage, they look really weird for quite some time while you’re finishing off.

I’ve always made a point of showing you all of my errors. Partially because I view that kind of honesty as helpful and partially because I don’t necessarily view them as errors. They are the path through that particular piece of art. Sometimes they even turn out to be helpful.

I finished binding one quilt in a bright green in the middle of working on this quilt. Went back the next morning, and finished a large swath of feathers, only to find they were that very bright green. I was appalled. I picked up the mustache trimmer, looked at the immense patch of green, and quailed.

Then I thought for a while. Part of the problem with herons is that they are mostly grey and dark blue. With bits of rust. They are exquisitely formed but the color scheme leaves much to be desired.

But what is grey? Any color can be made into grey either by adding a lot of white or a lot of black. It’s a matter of value.

So I gathered up all the colors I had that were the same values, not colors. I added a lot of rust that gives it a warmer color, which means I’ll need a background with warmer shades as well.

All those colors sort of made it rainbow-colored. And rainbow colors make iridescence. But since they’re the same values, it’s still greyish. I think it’s going to be all right. I’ll know in several days when it’s all stitched in.

A word about the photography. I just got a new to me iPhone 12 mini. I do think the pictures are an improvement. Let me know what you think.

If you’d like more information about ripping with a mustache trimmer, see the blog To Rip or Not to Rip.

Cut Off the Same Cloth: Elements that Work for More than One Quilt

| ellenanneeddy

Years ago someone asked me how many mushrooms go in a quiche. I asked back, “How many mushrooms do you have?”

I don’t make copies of things. I do make variations, and I find it useful to rethink some things I’ve done before, or more importantly tried to do before. I might get lucky. You never know.

But there are some things I know I can always use. There are never enough dragonflies, daisies, frogs, or mushrooms. They make an excellent point of interest for a visual path through a piece. And every so often I make batches of them.

The last two quilts had lots of frog and mushroom action. But they are such different pieces. Why did that work? Why do the same color elements work in two really different color backgrounds?

I’ve thought about it a bit and have decided that bright is a color all of its own. Green Heron Hunting features a bright fall-red sky, a stream, and some rocks. High Rise Living is a soft-colored background as a garden with lobster claw plants dangling in the breeze. The backgrounds couldn’t be different. But both backgrounds are a strong contrast to the mushrooms and frogs. High Rise Living is almost pastel. Green Heron Hunting is a bit somber. Both of them are high-contrast against the backgrounds

Batching regular elements has changed my work a lot. I find I can do larger elements with much less distortion. The downside is they need to be stitched down afterward. The mushrooms get stitched down with the most prevalent color on the edge. The frogs and other elements usually get stitched down with black. I don’t always like the heavier black borders, but it eliminates a lot of pucker and distortion.

So I continue to make batches of the elements I know I’ll use again and again, Contrast, any contrast makes elements work together. And there’s always room for one more frog.

Shimmer: Defining the Background

| ellenanneeddy

I have two quilts I’m finishing right now that you’ve been watching me work on. The threads I choose make all the difference in their background effects. Shinier threads will create a shimmer, a wet or wild area. Less shiny threads are more indicative of air or ground. I’m treating them with different threads and patterns to create a specific effect in each case.

For a very wet look, I’ll use Sliver and other flat threads. These really shine across the surface. I prefer them for either starry nights or for water.

The other thread I’m using is Madeira’s bug body thread, FS2/20. This amazing thread has a black core that gives it a very different texture. Zigzagged it does look like bugs. As a stipple it has a sharp look without the intense shine.

I consider both these threads incredibly beautiful and essential. But I use them very differently. Because they create an incredibly different texture. Why is that important? The texture defines the area for our eyes. Shiny thread will create that wet feeling. A sharp undefined metallic does excellent air or dirt, all defined in our thread choices, with no more work to it than that.

Green Heron Hunting is set with water, air, leaf, and ground elements. The air and the ground are very similar. I don’t want a soft look. It’s fall, so I want it to be crisp and textured. So I chose Sliver for my stream. But the ground area with the frogs and the leaf tree tops are stippled zigzag with the FS2/20. There’s a glint of metallic, but it’s different from the high sheen of the water and the eye separates them immediately.

For the air, I chose a driving straight stipple pattern to suggest wind. But I put in a repetitive garnet stitch in it to make it look more driven.

For Fishy Business, the background is all water. So I used Sliver-type threads exclusively. The very shimmery background contrasts highly with the completely poly-embroidered fish. They both shine, but in very different ways.

Your thread choices and stipple patterns define the background. Contrast is the key. If your background and images contrast each other, they will stay visually separate, and help your eye to see the separation.

If you’d like more information on stippling and threads, check out. Skimming the Surface: Bobbin Work as Stippling.

Leafmeal Lie: Making snippet scrap Leaves

| ellenanneeddy

I don’t follow trends well. If it interests me it interests me. If it doesn’t, it’s background noise. So the snippet thing just went right past me. It’s an interesting technique, but it didn’t work with what I was doing.

So I was working on Green Heron Hunting and I needed to do something different with the leaves. I’ve often used green sheers with stitching to create folliage.

snips arranged on Steam a Seam 2

But I wanted fall leaves. Small fall leaves. I didn’t want them to be detailed. Just bits of color. So for this, the snippet thing made sense. I sat down with a pile of hand dyed scraps, and cut some bits. I cut a cloud shape of Steam a Seam 2. I arranged the bits on to the Steam a Seam 2 backing and pressed them on high heat with a non-stick pressing cloth.

The trick with a pile of snippes is stitching them down without them getting caught in the darning foot or having them go all over. I’ve seen snippets done with tulle over them to control the bits. Personally, I don’t like the look. I can always see the tulle. It looks either too dark or too light and it spoils the effect for me. So i decided to stitch them down with a top layer of dissolvable stabilizer, to keep things from getting tangled.

Dissolvable stabilizers have been around for a while. They are a film made from cornstarch and dissolve in water. They have a lot of commercial uses for computerized embroidery, but they also work well for free-motion embroidery. I don’t know that they stabilize so much as they keep the machine feet from getting tangled in the thread and bits of fabric. Originally they showed up in the 80s as Brama Bags, a dissolvable laundry bag for hospitals, where they were concerned about contagion from people’s laundry. It’s only gotten better since then. There are lots of different brands. The difference is in how thick the film is and how easily it dissolves. I like Aqua Film, which is now called StitcH2O, by OESD. But there are also Solvey, and Badgemaster and new ones come out all the time. What you are looking for is a film that’s steady enough to stitch over without being too thick. Thick ones take forever to dissolve.

That made a tree top I could iron onto the piece itself. But I never trust glue. It sometimes just comes loose. So it needs to be stitched over. And all those little bits of fabric, even glued, are going to go everywhere. So this is where I used my Aqua Film. I pinned over a sheet of the film, and stitched it with a zigzag stitch and a metallic green/brown Metallic thread called FS2-20.

After all that stitching, I trimmed away any extra stabilizer.

I put it up on my photo wall, got out a spray bottle, and spritzed the stabilizer. It’s not instant. You need to get it really wet. But it dissolves. I put a fan on the piece and it was dry the next day. The color darkened a bit, but I’m still happy with the result.

So these trees work for me. The frogs and heron are so busy, there needed to be similar excitement going on up top.

I’ve also used dissolvable topping film for a technique I call globbing, where you stitch down a glob of thread onto a quilt. Just put the thread where you want it, pin the stabilizer on top, and stitch in circles until it’s significantly attached. They work well for stitching over delicate things like Angelina Fiber, where, again your pressure foot is likely to get caught. You can read about it in Another Fine Mess: Globbing, What’s on Your Floor

Good Bones: Rocks To Water

| ellenanneeddy
923-21 In the Reeds 2

Building something with dimension usually means it has a recognizable top and bottom. Design-wise, I believe you should be able to flip a piece on any side and have the design still move and work. But it loses a great deal of credibility if you have upside-down fish. It’s not a good look.

Be that as it may, it helps to have a recognizable border between sky, land, and water. How can we make those obviously separate, without just putting a line across it?

There are several subtle ways and some pretty direct ways.

Dyed cotton thread in the sky, thick metallic in the water

The easiest subtle way is to change the kind of thread you are using to stipple. Not the color necessarily. The kind of thread.

Threads separate in how they’re made and how much they shine. Metallic threads usually shine more than poly or rayon, certainly much more than cotton. Sliver-like threads that are flat tinsel shine the most. Next, come the twisted metallics like Supertwist. Then there are the wound metallics like Superior metallics.

Now, if water is shinier than air, and air is shinier than earth, you can separate them out by having different threads stippling the piece. I usually use Sliver or #8 weight metallic threads for water, and Supertwist for sky, and/ or earth. If they shine differently, your eye will automatically sort them out as different.

# eight weight metallic threads in water

But the best way I know to establish earth is rocks. This is not subtle. It’s an in-your-face statement of land. A pile of rocks at the water’s edge defines the water/earth border immediately. Ad it’s so easy to do.

I cut rocks out of leftover hand dye. I pick anything that is rock color, always adjustable to the color of the background, and cut a whole lot of rocks for when I need them. They’re backed with Steam-a-Seam 2 so I can move them around at will until I iron them down.

Fishy Business is a mostly water quilt. But a pile of rocks in one corner establishes the bottom of the pond. I may have globs of thread and some water ferns later to create more movement. Now all I want to do is establish a baseline with the rocks and start getting the water to flow.

I’m using soft edge applique techniques for this. Soft edge has no visible stitching or edge to it. Neither water or rocks are improved by having a hard applique edge around them. Instead, I’ll go around the edges with monofilament nylon and a zigzag stitch. There’s more information on, this in Sun, Clouds Water and Rocks.

I cut some elongated c shapes to make water from. Both in blue and green for the water and yellow for reflected sunlight.

You can see the progression on this in these shots. I started with a corner pile of rocks to establish the bottom of the pond. Then I added in the water ripples made of sheers backed with Steam-a-Seam 2. Since each fish I put in the water changes where the water ought to be, I’ve added them one by one and adjusted the water around them. I added sunlit water shapes across the middle.

I’m pleased with this so far. Nothing is sewn down yet, so I’ll leave it up and look at it in case it needs adjustment.

Having a sticky fusible like Steam-a-Seam 2 lets me design this way. When I’m ready, I’ll commit and iron it down. It’s a very fishy business after all.