Tuesday, March 21, 2017

"Bird Of The Night"

I decided to make a second fiber art piece for Beyond the Edge Fiber Artist's  "Put A Bird On It!" exhibit.

This is that second piece, and I call it "Bird of the Night". It measures 40" x 40". I'll show in my upcoming posts how I made this piece. It is currently on display at the Rancho Buena Vista Adobe Gallery in Vista, California, along with over 30 other fiber art pieces.

Here is information about the exhibit:

Textile Translations
A new exhibit from Beyond the Edge Fiber Artists

Textile Translations will be shown from March 7 through April 3, 2017 at the Rancho Buena Vista Adobe Gallery (Rancho Buena Vista).  The Gallery is located at 640 Alta Vista Drive, Vista, California. Phone (760) 639-6164. The gallery is open Thursday, Friday and Saturday, from 10 am to 3 pm.

Saturday, March 18, 2017

Favorite "White" Markers

Linda Friedman, of  Linda's Art Quilts  fame, recently asked what marker I use on a dark fabric. I understand her question because I've had a hard time finding a good marker for dark fabrics myself. Many of the markers do not come off easily, or they are too hard to see or they don't last long enough to be of use. So for this post I'm going to show you my three favorite methods for marking on a dark fabric.

This first photo shows many of the markers I have for dark fabrics that I have tried and found wanting for one reason or another:

As you can see, I have tried many. Here is one of my favorite markers if I need a thin white line:

This is a mechanical pencil filled with BOHIN white pencil lead. The lead is strong enough to not break easily, and its' line has lasted for a few months on a piece I was handling a lot. By the time I got done quilting an area the lines were mostly gone. A little wet towel removed the residual. You can buy this lead at a quilting store or on line. BOHIN also sells mechanical pencils if you don't already have one.

My next favorite white marker is a General's White Charcoal Pencil, shown here:

The line made with this pencil is a little thicker, but it is easily removed with a damp cloth and seems to last long enough for machine quilting.

But this is my favorite white marker, and it's very cost effective:

You are looking at a sliver of Irish Spring soap. I like to use them for washing until they are very thin, especially on an edge. I let them dry out completely, and then they are great markers. Their marks come off easily with a damp cloth and their line lasts. If they get too blunt, I pull out a new one. I never seem to run out of them.

So there you have some choices for dark fabric markers. Thanks for asking Linda! As always, thanks for visiting my blog!

Thursday, March 9, 2017

Textile Translations Exhibit at the Rancho Buena Vista Adobe Art Gallery

I am a proud member of Beyond the Edge Fiber Artists. Our group has an exhibit entitled "Textile Translations" at the Rancho Buena Vista Adobe Art Gallery. The exhibit runs from March 9 through April 3, 2017. The Adobe is a historical site, with old buildings, gardens and an art gallery. It's a fun place to visit.

I've posted a few photos from our set up day at the gallery.

 I hope you have a chance to see the exhibit. Here is more information::

Textile Translations
A new exhibit from Beyond the Edge Fiber Artists
Textile Translations will be shown from March 7 through April 3, 2017 at the Rancho Buena Vista Adobe Gallery (Rancho Buena Vista).  The Gallery is located at 640 Alta Vista Drive, Vista, California. Phone (760) 639-6164. The gallery is open Thursday, Friday and Saturday, from 10 am to 3 pm.

Thanks for visiting my blog!

Tuesday, March 7, 2017

Tough Old Bird Final Details

Here are some last images for this piece before I move on to another project:

I used a blue horizontal and vertical strip to anchor the Tough Old Bird on the background.

I used bias tape and straight stitched it on.

Face stitches:

shirt stitches:

hat stitches:

Thanks for visiting my blog!

Saturday, March 4, 2017

More Quilting - The Stitched Bird!

I'm still showing the making of my "Tough Old Bird" piece. Today's post is about the quilted bird I put on this piece. You can see it in the upper left corner of this image:

Why a stitched bird? Well, something needed to be placed in the upper left corner to add some balance, in my opinion. I also wanted an actual bird of some kind on this somewhere.

What kind of bird? This Marine required a bird of prey, hence the hawk.

How did you do it? I drew an image of the hawk and then enlarged it to the size I wanted. The image was cut out and placed on the fabric.

I used a white pencil and traced around this.

And then I stitched around and within the lines.

Thanks for visiting my blog!

Saturday, February 25, 2017

Background and Quilting of the Background - a lesson learned

   After all the parts that make up the "Tough Old Bird (TOB)" were painted, I assembled them on a piece of tan fabric. This fabric prevents the background colors from coming through the lighter fabrics. I trimmed the tan fabric up to the edge of the TOB, so none of it shows. It just adds a nice warm tone and prevents color bleed through. I do this with all of my portrait images.

I used a blue and brown background, as you can see in the image above. I pieced the background and sandwiched it. I decided to quilt the background before putting the TOB on it. I used a straight stitch for the quilting on most of the background.

After completing the straight stitching, I placed the TOB on the background. I fused it down and then machine quilted it. As I was looking at it during the quilting stage, I realized I could see the straight stitches on the background fabric through the TOB. Pre-stitching the background turned out to be a mistake. I had straight horizontal shadow lines all over this old dude, and that was not what I wanted. I didn't like the way that looked at all, so used a stitch picker and removed all of the straight stitches that were under TOB. It was extra work but worth it.

So what went wrong? The horizontal lines may not have shown through if I didn't use fusible behind TOB, but I like fusible and I'm going to use it, I got the idea to stitch the entire background first from another art quilter. She says she does it and it makes squaring up the quilt at the end easier. She does not use fusible, so that may be why it works for her. Since I use fusible, I won't pre-stitch the background again.

It was a lesson learned, but all is well in the end. In my upcoming posts I'll show more of the quilting and finishing of this piece.

Thanks for visiting my blog!

Saturday, February 18, 2017

Skin tone, and hair for Roy

  This piece required painting skin tone for the face and arm/hand. I painted the face, head, beard and glasses on the same single fabric piece. The arm, hand and cigar were done on a separate piece.

My preferred colors for Caucasian skin tones are yellows, browns and pink/red tones. The shadow areas are created with blues or blues mixed with reds.

Here are some in progress photos:

    Arm and hand...

and here is the face and neck.

In progress stages often aren't pretty. You just have to have faith and keep going, knowing once you get the value contrast in it will look better. Practice, practice, practice.

  This photo shows my painting palette while I was doing these pieces.

  Here is a practice piece for the glasses. I thought the reflection and eye shadows would be a little tricky, so I did a test painting first.

    The hair and beard can be seen here.  A lot of white, gray, silver and blue were used to get the look of the hair and beard.

Thanks for visiting my blog!