This is my latest quilted wall hanging, “Amy & Ernie Riding”. (That’s my husband and me on our valiant steeds, Cody and Destiny.) On the left is my inspiration photograph, taken last fall in Matthiessen State Park, here in Illinois. It’s a beautiful park with deep ravines, creeks, woods, fields, and 9 miles of riding trails.

Note: This wall hanging is NOT completed. I just thought I would share my work in-process. So far, I have not done any sewing or quilting. I think it’s important for people to know that they can create some quite nice fabric art without being able to sew. I hope to add some glimpses of earlier stages another time. 

The photograph, as I said, was inspiration. In my art quilt wall hanging, I’m not wearing glasses and my husband is sporting a nice cowboy hat (because I have a thing for cowboys!) I realized, after the fact, that I could have dropped 40 pounds between the photo and my version, but oh, well, I’m just keeping it (fairly) real!

 

Below is an earlier version—the foreground is naked here. I also had a different hat on Ernie. Great example of “I can’t draw”! I tried to make a cowboy hat from a picture in my mind. Well, don’t go there! I found a photo on my computer that I was able to create a better hat from.

 

 

I decided to add a lot of texture with the foliage. Here’s a glimpse at my technique. I cut lots of little pieces of green fabrics and laid them on a piece of freezer paper. This keeps them together and protects my wall hanging from any messes from my glue. Yes, I use watered down glue in lieu of pins to hold pieces of fabric in place. I use just little dots of glue, applied with a toothpick or piece of straw. The pieces are generally easy to remove and there are no glue blobs to sew through.

 

 

 

I used the same technique to apply the fabrics to the foreground.

Next step is thread work: thread painting and quilting! Stay tuned!

 

 

 

 

 

I thought I’d share more of the story of this, my favorite wall hanging.

This cabin was built by my husband’s family in far southern Illinois and was occupied for many generations. It was a large, close family who shared holidays and large reunions every year. This is a photo of the family taken in 1953 when the home was still occupied by my husband’s great-grandfather.

When I first saw the home 12 years ago, it was falling to ruins, covered with vines and occupied by snakes. I took several photos (which I cannot find now) and started a wall-hanging based on one of them. The view is from the side of the cabin, with the lean-to kitchen at the back. I created the basics of the building and landscape, then set the project aside.

During the last year I had a new vision for the project. “Ghosts in the Holler” was born. The history of the family in that home, the hard, primitive lives, the joyous gatherings have survived in the stories told by later generations. I believe that people’s spirit or energy can stay in a place or thing and sometimes we can sense it. Looking at this old home I could imagine the spirits or ghosts that might still dwell there.

I used a number of techniques and mediums to portray the ghosts in this place.  I printed parts of the family photo on a variety of fabrics to use in my wall hanging.

Do you see the faces in the cabin?    

I took this close-up of his parents and inserted them in the doorway of the lean-to in the rear of the cabin. The faces have been painted with inks to blend in with the rest of the greenery that is overtaking the home.

I love how the whole piece turned out. It’s unusual, it’s a bit mystical, and stretched me creatively.

My husband, Ernie, has a big family reunion every year in far southern Illinois.  It’s held on an acreage that has been in his family for generations.  Uncle Ray built a pavilion, enclosed on 3 sides and landscaped the area with beautiful flowers.  He works really hard each summer getting everything in top shape for the September get-together.  One year, as a thank-you, I created this wall-hanging from panoramic photos I had taken.

This wall hanging is done in raw-edge applique, embellished with thread painting and decorative yarns/threads.  I didn’t use any pattern for this—I just eye-balled it, as they say.  Doing it this way gives it more of a folk-art look, which I like. What I really wanted to do was experiment with texture.  Texture draws people into the piece, and touching is allowed on my quilts.

The pavillion is has cedar siding, so I used a scrap of wide-wale corduroy to make mine.  I used a satin stitch around the roof line and on the appliqued windows.  For the flag, I had some flag-print fabric from which I cut a little flag and folded it as it hung from the flag pole (no breeze down there on that hot summer day!)
The trees on the hillside are done in a variety of batiks, commercial prints, and maybe a hand-dyed cotton or 2.  I cut basic blob shapes similar to what I saw in the picture, then did various free-form stitching around the edges—trying to soften them a bit.  Then I thread painted (a machine technique I’ve posted a tutorial for) the trunks and branches with various shades of brown embroidery thread.  I also thread painted some of the flowers in the garden, as well s the 2 bushes behind the fence.

The other, very textured flowers and greenery are made by couching decorative threads.  I used long tweezers  (like what come with a serger, or what you use in surgery if you, dear reader, happen to be a surgeon) to hold the threads/yarns in place as I free-motion stitch them into place with clear nylon thread.  Bunching and scrunching the yarns give a very full look, which also screams “feel me”—-so you may not want to do this if you don’t want people touching your wall hangings!

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Here are a couple of my landscape quilts/wall hangings.

The one of the left was a commission. A gal sent me 3 pictures she wanted combined into 1 picture.  The 3 are shown together above the wallhanging.  One is a picture (taken through a glass window) of a sunset.  Below it is a painting of 3 horses running through water.  The 3rd is a photo of her friend’s view from his house.

The job was to combine the 3 pictures into a single landscape, which I think I did successfully.  (She was quite thrilled with the result!)  The wall hanging is all fabric.  I used a combination of commercial prints and batiks and hand-dyed cottons.  I also painted (with water color pencils) the sunset, as I couldn’t find a fabric that looked like what I needed.  “When in need, make it yourself!”

The landscape on the right is also created completely in fabric and thread (as that is what I do!)  I made this for my cousin’s 50th birthday.  He lives in Phoenix and I found a photo on Google Earth of Camel Back Mountain there.  I used the photo as inspiration for my artwork.  I have to say, this was the hardest landscape I have ever done.  I will also admit that I like how it came out!

Batiks and hand-dyes were a great source for most of the fabrics. I also did a lot of thread painting for details like grasses. (See the detailed photo)  And, once again, I painted the sunset with my water color pencils.  I love the challenge of finding just the right textures and colors in various fabrics to create pieces of my pictures, but the skies, if I want them to look somewhat realistic, have been too much of a challenge to find!

I had scraps of fabric from my experiments with the sky and decided to use a piece for my label on the back, which is also pictured.

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The previous posted ended with my decision on color for the figure of my dad (age 9) and his dog, Jack.  “Sepia” is what I’m calling it.  More thoughts on my color choice: I thought if I went with black and white, it would give the impression of an old photo, yes, but I didn’t want to be caught up in trying to exactly match all the shades of gray.  I know, it might be easier that way, but I guess I’m just too independent minded to take the easier route.  And I really think lifelike color could have made the whole thing too contemporary–my dad’s turning 85, the photo is 76 years old, I want my art quilt to tell that part of the story.  So, that’s that!

I had my pattern all traced on (taped together) tracing paper.  There are many ways to create the fabric pieces from this point. Some of the choices depend on just how exacting you want to be.  I rather like to allow myself to be “in-exact” as this is, after all, ART, not another photograph!

Creating an art quilt which has sewn edges is a whole other creature, which we’ll not get into today!  I’m doing raw edge applique.  I love fabric, I don’t mind my pieces looking like they’re made of fabric, and fabric is made of threads.  So, there are going to be some threads, or edges, evident.  In fact, I like to use those textural possibilities in my pictures!  This is Fiber Art!

One nice method for raw-edge applique is to use fusible webbing on the back of all the fabric pieces.  Steam-a-Seam is great, the pieces can be moved around before they’re ironed down for permanence.

My thought here was, I just didn’t want to be bothered with all the ironing of the Steam-a-Seam.  I’ve done this type of quilt before (tho never a portrait) and have used another method successfully.  I put my tissue pattern on my light box, anchoring it with some scotch tape on each side.  Then I placed my chosen fabric over the area and trace my piece’s shape directly on the right side of the fabric using a sharp pencil or very fine point pen.  This is quite easy, of course, on light colored fabric.  You can see, though, that I have quite a bit of dark fabric.  I still traced it this way.  I drew with a light gray chalk fabric marker (any light colored marking pen or pencil is fine.)  And I re-drew, darkly, pattern areas where I couldn’t really see my lines through the fabric.  I also flipped my fabric back frequently to double-check where my pattern lines were.  

Where the pattern areas were quite large (like the dog’s body, the boys’ coat) I used a couple of pins to anchor the fabric to the tissue.  You can also tape the fabric piece to the tissue, then carefully peel the tape away when you’re finished tracing.  I left those large pieces pinned to the pattern for quite some time as I worked on getting pieces cut.

Pieces have to be cut with consideration for overlap.  Edge-to-edge piecing can end up with lots of gaps.  Think about what piece laps over which and add a little (1/8″ to 1/4″) seam allowance in those areas for glue.

Some considerations about cutting the pieces:

 I use small, very sharp scissors (some Fiskars, actually).  It’s usually best to turn the fabric as you cut, rather than the scissors.  That way you keep your hand and scissors at about the same angle and can keep control and precision.

I’ve learned from experience that, though I think I’m drawing a fine line, it’s still best to focus on cutting on the outside of my drawn line.  It does make a tiny bit of difference, which can be a big difference when you’re putting it all together.

And it’s OK to re-cut a piece.  Give yourself permission to get it the way you want it. It’s not like you’re wasting a yard of fabric!  This all takes time, and it’s a bit tedious sometimes, so be patient with yourself.

After I cut a piece, I lay it right over my pattern to see if I’ve got it about right.  You can lay it under the pattern tissue as well (this works especially well for piece placement.)

You can see I started in the middle, with the dog’s body.  I’m not sure it matters exactly where you start, but starting with a large piece makes things a bit easier.

I did have to be careful, and re-do a bit, with regard to the dog’s nearly white body and all the darker fabric around it.  Sometimes I thought it would look nicer for the dog’s body to overlap another piece, but sometimes you could see through the white too much, so I had to make very small seam allowances, or change the lap.

 The way I attached my pieces to each other was with some watered down craft or fabric glue.  I pour a little out in a little plastic lid or something and use a toothpick to dab glue under the edges I want to glue to other pieces of fabric. I did not glue all this down to the tissue!  A bit did stick here and there, but I could easily pull it off.

To be quite honest here on my blog, I’m posting a couple of pictures of Dad’s face as I worked on it.  This was definitely the hardest part.  I had very small pieces to shape and place, and fabric choices were kind of difficult (though I find that part really fun!)

Here’s the face when I played with some fabric that had stones on it. I was using the wrong side for its subtler colors.  I liked how I could get the highlight on the tip of his nose and the shadow at the bridge of his nose.  However, it just wasn’t an improvement over what I’d done before. Kinda weird looking, actually.  🙂

Another change in this photo is the mouth.  Previously, I’d gotten the lips too dark and they looked too big (tho they were the right size according to the pattern.)  It all had to do with fabric choice.  This time, the upper lip is just a shadow, and the bottom lip is, well, there isn’t a bottom lip!  What I’ve done is just place a little piece of fabric that creates a pale shadow under his bottom lip, creating the effect that his lip is there.

There comes a time when I know I better leave well enough alone.  So this is it.  I did cut out some “whites” of his eyes and some little dark pupils.  They are not glued down–more just to play with.  I may use them, or I may paint or thread paint the pupils. Just don’t know yet. But overall, I’m satisfied.

So what I’ve created is a big applique piece that I’m going to put on a background piece, which is yet to be discovered!  When I get going on all the thread work (thread painting, quilting), this piece will really come to life!

Next post will have a background and some (if not all) stitching done.

Thanks for reading!

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Dad’s 85th birthday is coming up in a few days. I wanted to create something really special for him, something that he wouldn’t expect. I’ve had this photo of him at age 9 on my bookshelf for a long time. A couple of days ago I was finally inspired—-to create this photo as an art quilt!

I have begun the project and will chronicle it here. My first consideration was color. The photo is in black and white. I could copy this, but aside from not being very inspired, I don’t think it would reflect what I want it to. I want the piece to be interesting and reflect his long life. I
thought about doing it in life-like color, but I don’t know what color Dad’s hat and coat actually were. I have been looking at challenging myself by doing a monochromatic quilt, focusing on shade and tint, texture and line. I have decided to do the picture in sepia tones. This will give it an old-fashioned look, yet being a very contemporary style of art.
Next I had to enlarge this photo to a size I could manage. The original (something like 4X6″) is too small to replicate. I used my photocopier to enlarge it (in sections) 200%. The main figure itself is now about 24″ X 14″, so it will finish to
about 30″ tall. This will be manageable (I can finish it in 10 days) and large enough to be substantial (otherwise, why bother, right?)

The next step is to create a pattern. I have laid tracing paper on top of the enlargement and traced areas from
which to create fabric pieces. I kept in mind that I can’t have pieces too small to cut and place successfully. I also know that I will thread-paint details, so that will take care of some of the small issues.

Now……fabrics! I keep my fabric sorted by color, so it wasn’t too hard to pull out lots of shades of brown. I didn’t bother to research “sepia” to authenticate my color choices, instead I’m choosing shades and tints of yellow-orange. I’ve learned something about the importance of contrast to add interest to a piece, so I tried to find my very palest and very darkest pieces. I did discover that I have some browns that are more green-brown, and some are more gray-brown, so I tried to keep with the yellow and red-browns. I also got out a bit of solid black. There are a few prints with other colors in my piles….you never know, they might be interesting somewhere in the picture!

More to come……………..