Art Process

Branching Out: A Tale of Two Branches

| ellenanneeddy

I’ve been waiting for a while to finish this quilt. Right now it’s all pinned together. All the components are finished, but not stitched down.

Branches are always hard for me. I’m more comfortable with leaves, but the leaves need to sit on something. And this heron needed a nice dead branch to stand on as she surveys her pond.

I think it’s harder because it’s more abstract. I’m not quite sure how to do the portrait of a tree. So I start with a shape, and I’m trying to make an interesting bark.

I’ve tried some slash applique for branches. I tried that first. I used two layers of hand dye with felt and Stitch and Tear as a stabilizer. I was trying to get the grain of the wood to wrap around the branch.

I stitched it down, straight stitch, trimmed out the shape, stitched in grain lines, and slashed the top layer. Then I hand ironed them with a point turner so they would stand upright, and stitched along the seam.

Once I sliced through the top layer, I roughed up the fabric with the edge of my mustache trimmer. The mustache trimmer was not on, but the blade on it made a nice surface to make the edges fray a bit.

I don’t consider it a success. I don’t like the shape and I don’t like the direction of the bark.

So I did it again. This time I used three layers of cotton, and stitched vertical lines much closer together. I didn’t really savage the upper layers. Instead, I sliced through them like chenille. I tried several methods but it really was easier just with scissors. I roughed it up with the trimmer as well.

This isn’t appliqued down yet, but I’m so much happier with it. The other branch will work in a forest floor piece, but not here.

Free motion Applique: following the Curve

| ellenanneeddy

This is under the heading of sneaky secret tricks. I rarely use an applique foot for applique. Instead, I use my darning foot and cover the raw edge in a free-motion stitch.

Why? Mostly because I rarely use a straight edge in my work, except for borders. I’m a curvy girl and I think in terms of curves.

I wanted a curvy vine for my butterflies to fly over and for the flowers to nestle into. layered on another piece of green hand dye, stitched out my vine in a straight stitch, and cut away all the excess. It’s best to get rid of all the extra fabric you can. I use pelican scissors to trim as close as I can get to the seam. Pelican scissors have an odd bend that lets you cut right on the edge.

Then I picked a light, dark and medium set of threads for the edge. Vines have two sides, and one can be done light and the other dark. If it’s a complicated vine, it may take a wider range. You want colors that could be the same if they were in a darker or lighter environment.

Stitching the top and bottom line of the vine in different colors gives it a visual distinction that makes it look dimensional. And because it’s free motion, the line is fluid and follows the curve more graciously.

Here’s my piece, almost ready to back and bind. Free motion applique is just what a curvy girl ordered.

Why is This Butterfly Ugly? Color VS background

| ellenanneeddy

Sometimes I think I should call my blog Studio for Real. I probably make the same bumbles and false starts as anyone else. I do try to show them to you for several reasons. It’s good for you to see that perfect is an abstract that doesn’t exist. That anything worth doing is worth doing badly. And that everything is basically an experiment. It’s Wednesday at the Micky Mouse Club. Anything can happen.

I’ve been working on the purple heron for a while When I put in the white lotuses, I wanted more. More of that white sparkle. So I started some white metallic butterflies.

I had some leftover felt squares and I used them for stabilization. But they weren’t all the same color. I didn’t want to put a layer of hand-dye into the sandwich so I didn’t.

Three quarters through the butterfly I turned it over to photo it. It was ugly. Irredemably ugly. I’d stitched my colors from periwinkle, sage green, silver, to crystaline white. Was it that really pale green that did it? How did it get grungy?

That happens a fair amount. Particularly when a piece is half done. A lot of times it gets better as you go on. Or put the eyes in.

It is better cut out. But compared to the ones on teal or white felt? No contest!

It’s official. I’ve found an officially ugy color. That soft sage green is only good for fish and frog tummies. I won’t use it with something I want sparkly white.

But it’s also deeply affected by the bright green background behind it. My backgrounds make a big difference, particularly if I don’t add in a layer of hand dye. That dark green did me no favors.

Next I decided just to see what the difference would be, to make up some butterflies in Poly Neon with white felt. I thought I might need more brightness.

Surprise! I’ll use these brighter butterflies, but not in this quilt. The metallic ones are more subtle. I wouldn’t have bet on choosing subtle, but this time it’s right.

Do I always thrash around about decisions? No, not unless I do. We all need the time in our art journey to try things out, to take false steps, and to turn, turn again until we come round right.

Can I Kelp It? Couching Unusual Yarns

| ellenanneeddy

I needed some kelp for the bottom of this shore scene. I wanted something textural and yet not dense.

There aren’t a lot of great pictures of kelp. But I found these in an art nouveau book of botanicals. It twists. And it’s long and narrow with crinkled edges.

As a lucky find, there was this strange yarn at the rescue mission sale. Both of these are loopy yarns. They were in vogue several years ago for scarfs. They have loops woven in that will make great kelp. The color also fits into the scheme, blending with the heron.

It can be spread apart to look like kelp. That’s a difficulty all its own. You can spread yarn apart, but there aren’t enough fingers to hold it that way and free motion over it. You also can’t free-motion it without it being caught in the darning foot.

So I took a two-pronged approach, I knotted the yarn where I wanted it to spread,

I couched it in place with a regular presser foot, so that I could control the width of the yarn.

I covered it with a Dissolvable stabilizer. Then I stitched it all down with the darning foot where I wanted the kelp to be. I wet down the stabilizer to make it go away.

Some yarns need special care. Don’t be afraid to use several approaches to get what you want. In the end, all that matters is the result.

Waterlilies Vs. Lotus: Purple Heron

| ellenanneeddy

Whenever you do any kind of representative art, you end up needing to do your research. Does the frog have three toes or two? Does it matter?

Sometimes it really does. Sometimes it really doesn’t. But it’s always more impressive to get your details right.

I do water lilies a lot. Lotus, not so much. And I’m really not sure why. But for this quilt. I want lotus, with their big stand-up pads and their flowers standing proudly on their stems. I need the vertical motion of them.

So I went looking for pictures. When I did, I found lotuses and waterlilies side by side in the search for lotuses. So what is the difference?

I decided it was in the way the petals curved inward, Instead of having a petal shaded differently on each side, I shaded them so that the shadow was in the middle of the curve.

Each quilt gives me an opportunity to explore the shapes, colors, and shadings.. We look as artists for formulas that we can use. But in the end, it’s all observation set in the colors we play with. And a dance of choices, individual but built on all the choices before.

Shimmer: Making a Minnow Shine

| ellenanneeddy

I love minnows! My dad used to bring me home minnows when he’d been fishing, so I could watch them. They aren’t exactly like fish visually. They have parts that are solid, but they also have fins and underbits that are really translucent. How do you do that in thread?

I used to not pay much attention to the kinds of metallic threads I used. I mixed them all together by color and that was that. But lately, I’ve been paying more attention. Metallic thread is not only shiny. It comes in different kinds of transparency.

Why would that matter? A more transparent crystal thread gives a translucency to your embroidery. It’s not quite see-through. Most wound metallic threads are not at all see-through. But the flecked metallic threads can be to some extent.

Most metallic threads are not. They are a strictly shiny surface that reflects, in both ways, the solidity of metal.

Metalic-colored threads have the shine, but they are not see-through either.

Crystal metallics are different. They have a translucency that translates into your stitching as being see-through.

With some careful planning, the bodies of the minnows are mostly solid, but the mixture of metallic silver and iridescent white crystal makes for transparent-looking fins.

It’s a trick, but it’s a cool trick.

These minnows will be in Shadow on the Shore. I’m not sure how many minnows we’ll use, but there’s always room for leftovers.

For more thoughts about translucent thread and embroidery see Translucent: Making Stitching Look Transparent.

Shadow on the shore: Making a shadow from Organza

| ellenanneeddy

For some while I’ve been wanting to make reflections in water, and work with shadows. I also have usually only done river and pond water. This image made me want to break out into shore surf. The heron has her wings up, so that they distort the shadow and the fish won’t see her.

I’m a bit uneasy about what the surf should look like. So I did some research. I love Japanese art, and looked through some imagery on waves on shore. Sometimes it helps to have a good idea what something looks like. These drawings were great waves. They gave me a place to start.

I broke down the drawings into simple shapes. And I cut them in a lot of different blues, and a specific glistening white.

But I needed to make the shadow. There may be more sophisticated ways to do this, but I traced the embroidery onto Steam a Seam 2.

I’ve changed backgrounds a lot on this. I finally settled on something a bit brighter, so you could see sand and sky.

The first one I cut was purple. It simply wasn’t dark enough.

Black glitter tulle worked better. I patted on some glitter tulle and cut the shape out.

I cut out wave shapes and layered them together.

The sky is pure sun headed into greenery, and I didn’t want to do something bold with it. Instead, I added spirals heading from gold to green to feel like the sun shimmering down.

I’m pleased with this although I haven’t ironed it down yet. The placing of the heron is really delicate. So I’m looking at it for a while before I commit.

Things to know about layering sheers:

Sheers may look different once you’ve ironed them. Have a test piece so you know what it will look like.

Your Steam a Seam 2 will make your needle skip if it’s not ironed down properly. That’s harder to do with multiple layers. And if you use lace the glue will come through

Layered sheers take more ironing to stick. But you don’t want to melt them. Use a no stick pressing cloth to iron them down and clean it after each piece is ironed. I use a non-stitck Scotch-Brite Scrubby. When you are all done, lay a piece of cotton scrap over the top of it and iron on hot. The excess glue will melt into the scrap. Make sure you don’t transfer glue from the scrap to your piece.

Sheers make wonderful shadows. I’ll stitch all this down with monofilament nylon so there are no hard edges, just shadow, sun and sea.

Quilt Bits that Time Forgot:

| ellenanneeddy
Swish!
Swish! detail

There’s a constant pathway in my studio. It’s not the one through the piles of fabric, although that would be useful. Often one quilt sparks another quilt, either in concept or in terms of left overs.

The fish in Swish and Koi were once supposed to be in one quilt. It just didn’t work out that way. I guess if you’re a red fish you need a space of your own.

You know I always make extras of everything. Right now I’m working on some green and silver minnows. I can’t go wrong here. They’re right for the heron I’m working on, but those I don’t use are bound to fit in a quilt somewhere.

Rose Moon
Rose Moon detail
Owl Stream
Owl Stream
Hunters Moon
Hunters Moon

These 3 owls all look similar in style. That’s because they were all made for one quilt. That quilt simply didn’t work. I have those moments, like everyone else. It sat in a pile for around 8 years/and I decided to use one of the owls. Then another. Then another. I consider any quilt that sits in a pile for 8 years unfinished to be probably not working. Unless I have a miracle revelation when I find it in the pile.

This is how my studio works. I produce work in many stages. Sometimes those stages work immediately as I envision them. Sometimes they don’t. But there is surprisingly little waste. Almost everything gets used somewhere. It’s a process of finding the right place to put it.

There’s another side to this. I get to take an image and put it into a different place. Which is exciting because a different piece of fabric puts it into a different world. That’s a wonderful experiment. Will the light change it? Will the stippling change the light. So many questions to ask in sequence. And to answer.

The price tag for this is the ability to change your mind. Understand this is a process you are not in control of. And enjoy the ride as your pieces develope under your hands.

Filling the Space: Bobbin work as Stippling

| ellenanneeddy

This piece has been sidelined several times this year. I’m grateful to have it up on the wall ready to back and bind.

I’ve lately been hearing people saying, “Don’t stipple.” I couldn’t quite figure out what they were talking about. Stippling serves to anchor and detail the negative space in your work. One of the problems with intense embroidery is that you can’t just leave the fabric around it blankly unstitched. It looks very puffily unfinished if you do that.

The stipple also sets the shine for the piece. Depending on the threads you chose, the difference in the shine can help your eye separate sky from land and sea. The moon is stippled with monofilament nylon. All you see is the waves in it but no color change. The area around the heron is air, stippled with a multi-colored Madeira Super Twist.

The water stipple is with 8 weight metallic thread. Both the Supertwist and the thick metallic threads are stitched from the back. The 8 weight thread is too thick to go in the top so it’s in the adjusted bobbin. The Supertwist is a bit fragile, so it’s stitched from the back with a regular bobbin case.

The cool thing about stitching over the sheer overlays is that includes them in the water movement. I did not do that with the air overlays.

So what was that lady talking about? I finally figured it out. She was talking about that random puzzle piece kind of stipple. She is right. There are a million ways to stipple a piece. But that puzzle stipple does nicely in the air here. The thick and thin metallic threads separate water and air.

The stitching you use as stippling defines and fills the negative space in between your objects, giving them meaning that goes with their gorgeous looks.

If you are looking for other ways to stipple look up Leah Day’s 365 Free Motion Quilting Designs. It will give you all kinds of ways to add texture and free motion without the puzzle piece stipple pattern. It’s a brilliant book!