On Top Of Old Smoky

While the weather here bounced around from 12 to 50 degrees I was revisiting the Smoky Mountains in fabric. I settled on an arrangement of my faux paper strips, sewed them down, and cobbled a way to finish the edges. I used no batting, but fused Decor Bond to my foundation fabric, and it’s a good thing I did. The finished product is heavy and might buckle without that extra firmness.

Because the fabric strips were three layers thick (top fabric, fusing, interfacing) I elected to trim up the side edges and sew some twill tape to them. I pressed the edges to the back and hand sewed them down. The top edge got the same treatment, while the bottom edge, which is only one layer thick, got turned under.

smokies-back

This project came with a bonus. I bypassed my scraps bins for the trimmings and created another small piece with them for this month’s scrap quilt. The base layer is fabric I had silk screened with thickened dye.

interwovenThe finished product, The Smokies, measures 20 by 25 inches.

the-smokies

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Filed under Art quilts, Completed Projects, Techniques

Around Here Week 6

I’m amazed that an ordinary cotton curtain can look so mysterious. I love the texture and the cutwork openings that hint of something behind the curtain. The wire filament like threads look like they’re about to dissolve. Then there’s the cable pattern. I used my camera’s black and white setting though it might look good in sepia.

curtains

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Fabric Paper or Reverse Engineering

Traditionally, fine paper was made from cotton rags, hence rag paper. It’s more durable and far less acidic than paper made from wood pulp. So you could say that fabric and paper have a long history together. However, my conversion of fabric to paper began quite recently.

I was intrigued by Eileen Searcy’s article in the February/March 2017 issue of Quilting Arts magazine  about making a “faux torn paper” quilt. It was different, didn’t require quilting and, except for the dimensional paint, I already had the supplies. A grub through my interfacing drawer turned up some very lightweight non-fusible interfacing and I had a bolt of Wonder Under. Once I dashed into WalMart for the paint I was good to go.

To create the 2 by 22 inch fabric strips the directions called for I pulled out solid or mottled fabrics in a gray to green to blue range, with a few light beige neutrals thrown in. To speed up the strip process I cut my fabrics into 4 inch wide pieces and fused as many of them as I could fit onto my interfacing pieces. Then I cut them into 2 inch wide strips. If I had been thinking I would have cut them into 4 inch wide strips and separated them with the jagged edge cutting that simulates torn paper. Oh well.

Next, I dabbed the ragged cut edges with the dimensional paint. The idea is the white paint will give the effect of torn colored paper, which has a white core. This piece of real torn paper gives an idea of the look I was going for.

element_tornpaperI could have painted my strips faster, but I wanted to try different ways of applying the paint and different thicknesses of the paint. The magazine instructions turned out to be on the money – paint from the front to back of the fabric and hold the brush perpendicular to the fabric, though I decided to apply a lighter coat of paint. I can always go back and add more.

Rather than use batting I decided to fuse my foundation fabric to Decor Bond for extra stability. I’ll be sewing the fabric paper strips to this and the backing fabric at the same time. My “sandwich” will be my strips, the foundation fabric, Decor Bond, and backing fabric.

After the prep work I got to my design wall and began to play. I ended up with a design that reminds me of the Great Smoky Mountains, so I emphasized earth and sky components. Of course I took some artistic license.

great-smoky-mountains-national-park-lead

Here’s my version so far in black and white. I was checking my values range.

smokies-bw

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Filed under In Process, Project Ideas, Techniques

Around Here Week 5

Despite the dearth of snow so far, winter temperatures still help create unexpected beauty with wild grapevine and water, plus a bit of sun. My neighbor has let the grapevine take over the bushes, but the bare vine catches the water from the downspout and turns it into prisms.icicles-and-branches

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Mini Designs

By mini, I mean about four inches square, practically drink coaster size. I made seven tiny designs with a small group that is now exploring Deborah Boschert’s “Art Quilt Collage.” The author suggests quick fabric sketches to get familiar with her eight design guides.

Armed with craft felt squares and lots of already fused fabric scraps we arranged our bits and spent some time squinting at the effects. Once we were satisfied we pressed them down. The author says this should be done fairly quickly and spontaneously, but it took us the better part of two hours.

My gallery reflects my love of bright colors and diagonal lines.

mini-designsMaybe I’ll quilt them, zigzag around the edges and use them for drink coasters. I suspect they’d stimulate some conversation about the state of the hostess’ mind.

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Filed under Art quilts, Books, In Process

Around Here Week 4

Northeast Ohio isn’t known for endless sunny days, so I love to watch the shadows when we actually get some sun. This art glass on my mantel casts rippled colored shadows, while fronds of the house plant add stripes. Somehow the right hand blue vase looks like it was drawn with colored chalk. I like the blobby circle shadows.

glass-and-sun-2

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I’ve Created A Monster

You may remember I planned to do scrappy piecing this year. My thought was a little bit each week, kind of an ongoing project. Well…

I now have one piece finished, one ready for quilting, and one almost done. They have been my passion for the past two weeks. Oh, I did some quilting on the birdies and the girls’ seascape, but I kept getting up from my sewing machine to tweak my designs a little bit more. This was so not my plan.

I’m puzzled how I created such different designs from my black/gray and yellow scrap bins. Two are rectangular while one has diagonals. I adopted an arbitrary rule that I had to go with the basic shape of the scrap, though I could trim it.

mostly-black-and-blue“Mostly Black and Blue” is Mondrian-ish with the pops of red and yellow. The mottled gray fabric is from my “Moonrise” quilt. I’ve enjoyed revisiting the leftovers from earlier projects.

getting-brighter-2

“Getting Brighter” is still in progress as I keep adding little squares like stepping stones across the surface. I cheated and used yardage for the black speckled linen and gray and cream print areas. The photo’s angle is off as the piece is high up on my design wall.

pointing-to-lavender

“Pointing Toward Lavender” has the very last of some treasured McKenna Ryan and Lonni Rossi fabrics, plus hand dyed damask. I had issues with the damask stretching during quilting so I ended up starching that fabric heavily, which I should have done in the first place. Restitching the quilting after starching solved the problem, though I abandoned my idea to change line direction a lot.

Since this isn’t a piece I’ll be entering in shows I decided to try another facing method. I found that mitered facing corners aren’t the best method for me.  Better to learn that now.

I think I may make my scrap sewing a monthly, rather than a weekly, project. My trips to the fabric candy store obviously need to be rationed.

 

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Filed under Art quilts, In Process