The Columbus Artists' Guild show is in full swing. It opened June 8th and continues through the 22nd at the Illges Gallery at Columbus State University. My piece didn't get any awards this year, but it's nice to have work in an art show.
The East Cobb Quilt Guild show is going on through Sunday. I entered two pieces and received an Honorable Mention for one of them ("Black Hills September"). My friend, Linda and I, along with our husbands (can you believe that?) will go up tomorrow afternoon, see the show, and bring our quilts home.
I made two new pieces for the museum exhibit. I put the photos that I worked from in my May 5th post. Here is one of the finished pieces.
It's called "Best Friends Forever" and is based on a photo by Robin Camp. This is me and my youngest granddaughter, Sarah. Does this quilt make my butt look big?
I used the technique I've used before with the trees and background where I cut up zillions of tiny pieces of fabric and place them, piece by piece. I took pictures as I was working on this one, so I thought I'd give you a glimpse into the mind of a very disturbed individual.
I use 4 or 5 different fabrics for each value. The values might be light light green, light green, light medium green, medium green, dark medium green, dark green, and dark dark green. So, you'll have 4 or 5 fabrics of all those values. You get the idea. I find paper plates to be useful in keeping the different values separate.
Now the really crazy part. I place the pieces on the muslin one at a time with a pair of tweezers. I try not to put pieces of the same fabrics next to each other--that's why it's good to have 4 or 5 different fabrics for each value. Even though it's very tedious, it gives you a great depth of color.
After the bits are in place, but before the tree trunks are put down, I put a layer or two of tulle over the bits and stitch with some invisible thread just to hold everything down. In this case, I used two layers of gray tulle over the area above the road because I wanted the colors to be more muted to help add to the illusion of depth. You can still put some bits on top of the tulle if you need to, but you need to always use a press cloth if you're ironing over the tulle--otherwise, it melts.
The figures are placed on the background and I'm ready for thread work. At this time, I iron a piece of stabilizer to the back of the piece to help keep it from distorting when I do the thread work and quilting. I want to make sure I stitch through any of the bits that are not covered by tulle.
I use a small zigzag stitch and a matching lightweight thread (Superior Bottom Line) to go over all the raw edges (not the bits, but all the larger pieces in the road and the figures). I do some thread painting to highlight (example-hair and tree trunks).
Now it's ready to be layered with batting and backing and quilted. Then, I'll square it up and either face it or bind it. I like to face the edges because it looks more like a piece of art that way, so I'm doing that more and more. I'm also leaving off borders for the same reason.
I didn't take as many photos as I should have to illustrate this technique, but I hope you can follow along. It's not a method that a lot of people would want to do, but I like it and it's actually kind of relaxing to play with all the tiny bits.