Showing posts with label distressed doors. Show all posts
Showing posts with label distressed doors. Show all posts

Thursday, 19 December 2019

CQ Journal Quilts 2019


Been catching up on my CQ Journal Quilts for September to December  and then looking through  my  blog posts realised I hadn't posted any of them here ( though I did post them on the dedicated albums on Facebook page ). Bad blogger ! 
The ' rules' this year  were A4 :with different patchwork/ sewing techniques Jan - April; alternative ' fabrics' eg paper May- August; different surface design techniques: Sep - Dec. I mainly repurposed old  or part started samples  
January 'Pebbles'  ( applique )   
February 'Spiral' ( logcabin
March 'Woodgrain' (chenille )
April ' Choppy Seas' ( pieced offcuts and trimmings )
May ' Meanwhile 1' ( Abaca tissue and paper
June ' Meanwhile 2' ( Abaca tissue and paper
July 'Frottage 1' ( Colourcatchers) 
August 'Frottage 2' ( Colourcatchers)
September 'Monoprint' 
October 'Iranian Door' ( printed photograph and monoprint) 
November 'Limpet Stack' ( appliqued photograph on fabric
December ' Limpets: interiors/exteriors' ( appliqued photograph on fabric) 

Tuesday, 18 November 2014

Rusty Journal Quilts -real and faux

Rust Shoreline 
Rust Shoreline detail
Rust Ripples 
Rust Ripples detail 
Greenhouse Door Rust
 Rusted silk habotai  couched on digital print of peeling paint of Alston Hall greenhouse door

African Scrap Door 
( no rusted fabrics: Ndobe indigo, African Kola and Indigo, Potassium permanganate, commercial )

The question of what you do with the bits you produce on workshops: use them in Journal Quilts.
 I enjoyed  trying out   rusting on fabrics and papers  using teas with Alice Fox  and produced some lovely marks on  small pieces ( thanks Olga for  highlighting  my  efforts on the Ragged Cloth Café blog) . I made up a small book and  applied the stitched pieces  to pre-machine quilted backgrounds. I love the resulting textures of these  but I don't think I will be pursuing this technique further as  after the initial excitement , I'm struggling  to work out how I incorporate them in my main series.

It's partly a scale issue: I prefer   yardage  such as my indigo shibori to small  pieces, however exquisite, and I'm a quilter not an embroiderer. It's a process issue:Alice does not wash or iron the  the resulting fabrics liking the folds and creases and applies these to felt or other fabrics. That   fits her aims and ethos but not mine.  It's a fabric issue: the  nicest marks were on thin silk habotai  which I can't easily mix  with the cottons I usually use.  Mainly though it's a colour issue: as a painter the marks, colours and especially tones  achieved are just too subtle and unpredictable .

I overheard  several times people stating authoratively that my 'Fleet Mudflats' quilt contained rust marked fabrics. It doesn't - it's a mixture of commercial printed fabrics and African kola and indigo with some digital prints of sand ripples. My African Scrap Door JQ above also contains no rusted fabrics.  
Fleet Mudflats
 
When you learn a technique or process, however much you admire the work and ethos of the tutor, you have to decide whether it fits with your own work. On this occasion I have  no immediate use for it - I'm  happier with faux rust effects.  But having learnt it , it's in my arsenal  for  the future  if appropriate.  

Saturday, 15 December 2012

Thread and Surface

 
 Just received my copy of the 'Thread and Surface' Limited Edition  Sketchbook  Project   which includes a spread from my 'Distressed Doors' sketchbook.  

 
It's fascinating to see what other people have done with the same theme,  reminding me with pleasure of the evening I spent at Canada Water library looking through sketchbooks and giving me the inspiration to get cracking with my 2013 project which I've left to the last minute as usual!!
 
I think they chose well - the image of the door in a cave at Sougia in Crete  is the strongest composition.



 

 
The pages of my sketchbook were constructed from used 'colour catchers', treated with either inkaid or Golden Digital Ground and inkjet printed photos. I joined them together with connecting strips of non-printed colour catchers using zig-zag and then stitched them by machine using Madeira Polyneon thread.
Above are the 2 sides of the same sheet and below that how it looked once bound.