Stitch Combo Exploration

stitchcombo2Lately, I’ve been exploring stitch combinations to make my free-form hand embroideries. In free-form embroidery there is no pattern or set of instructions to follow. You make it up as you go along. So I can easily spend hours agonizing over what stitch and what color thread to use on a project.

stitchcombo1I’ve tried to approach this exploration logically and made a sort of chart for various stitch combinations that build line, texture and pattern. They range from the simple Blanket Stitch plus French Knot plus Running Stitch like you see above to more complicated combinations.

stitchalong1aWell, this has turned into a major rabbit hole! There are endless combinations. And even though I’ve tried to limit the number of basic embroidery stitches to use in exploring the combinations, it looks like there is no end. Maybe that’s the beauty of hand embroidery. There are endless possibilities!

3 Ways to Design Art Work: Design Triggers

improv51My third method of creating original art quilts begins with a Design Trigger. This way of designing artwork is all about improvisation. There’s no pattern, no theme, no idea. Like walking a tight rope in the dark, you never know what you’ll encounter. Thrilling stuff for a textile artist who lives a safe and cozy life like me!

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Design Triggers

My design triggers are pre-fused fabric scraps. I keep all the cut-aways or fused fabric scraps from previous projects. The fusible web or glue on these fabrics never goes bad and those odd little shapes provide just the right impetus to launch a new design. (You can learn more about fusing here.)

Think of fused fabric scraps as the starter dough for your next art quilt. There is so much potential in these little bits of fabric. But there are pros and cons when selecting the Design Trigger method.

Pros: You are allowed to improvise. There is no pattern needed, no preconceived design you have to try to emulate. You are free to make it up as you go along.

Cons: There is no pattern or sketch on which to base your design. You have to fearlessly cut into your precious fabric and hope it turns out like you want it. Once it’s cut, you can’t go back.

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Windy City #10 by Laura Wasilowski

Here are some tips when creating with Design Triggers

  • Be brave! Take a chance and cut into the fabric.They are manufacturing fabric at a furious rate.You won’t run out.
  • Make design elements as a unit (like the house above) so you can try placing them in different places on background fabric.
  • Build your design on a Teflon sheet, silicone release paper, or parchment paper. This gives you the option of changing the size and shape of the design before applying it to batting.
  • If you don’t like how the design is turning out, set it aside and start another design. Art making takes practice and fusing lets you make lots of art work.
  • For a successful quilt, follow the rules from the Chicago School of Fusing.

 I hope you’ve enjoyed these three methods of designing art quilts. Now get out there and make something!

3 Ways to Design Art Work: Variations on a Theme

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Libby’s Leaves #2 by Laura Wasilowski

My second method of creating original art quilts is called Variations on a Theme. This way of designing artwork comes in handy when my brain needs a little kick start. Like a jolt of coffee in the morning, it spurs me into the “create zone” and I’m off and running.  

Please note that all of the examples used here are made with pre-fused fabric. (You can learn more about fusing here.) But you can apply the same methods to a pieced quilt as well.

variations1Variations on a Theme

The first step in creating this type of design is to select a theme or motif and create variations on that theme. The motif in our example is a unit or block with a square shape set on a rectangular shape. As with any design method, there are pros and cons when selecting the Variation on a Theme method.

Pros:  Repeating a motif lends rhythm and balance to your design. It gives the design a sense of unity.

Cons: The design may feel formulaic and static. By restricting yourself to one motif, the design may feel static and uninteresting. The key to making it interesting is to bravely change up the motif. Slice that fabric!

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Variations on a Theme by Laura Wasilowski

Here are some tips when creating your variation on a theme:

  • Start with a simple motif block. You’ll be repeating this block several times and an easy-to-make shape aids the process.
  • Explore ways to slice, flip, skew, enlarge, and diminish the motif block.
  • Determine a focal point or place where the eye first rests on the design. The rule of thirds applies here. Divide your design into thirds vertically and horizontally. The juncture of those grids lines is good destination for a focal point. The focal point may be a change up in size or spot of high color contrast.
  • Join the motif blocks together so they read as a unit. Note that the spaces between motif blocks (negative spaces) can be just as interesting as the blocks themselves.

Stay tuned for our third and final method of designing artwork: Design Triggers.

3 Ways to Design Art Work: The Sketch

seedpod1detail1forwebReady to make an original quilt design? There are three methods of designing art quilts that you may find helpful. And each way of designing has pros and cons to consider. Over the next few days I’d like to show you the three methods I use:

  • sketching a design,
  • creating variations on a theme, and
  • using design triggers.

Please note that the examples are made with pre-fused fabric. (You can learn more about fusing here.) But you can apply the same methods to a pieced quilt as well. It doesn’t matter how you assemble the design, it’s the process of turning your ideas into fabric that matters. Today we’ll explore sketching the design.

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Sketch for Seedpods

Sketching the Design
For large art work, a sketch may be the answer. You don’t have to be an expert at drawing but with a sketch or doodle you can work out the design possibilities ahead of time before cutting into fabric.

Pros: A sketch helps you visualize your final design. It helps determine the shapes and placement of each shape in the design and can be enlarged and turned into a pattern.

Cons: One difficultly of working from a sketch is the feeling of being locked into that design. Confining your imagination is not good in art making. So at some point you may want to set aside the sketch and wing it. Give yourself the freedom to change things up.

seedpod1a

Seedpods #1 by Laura Wasilowski

Here are some tips when designing from a sketch:

  • Make multiple sketches to develop the shapes in the design, their placement, and relationship to each other.
  • Duplicate the sketch and play with color ideas using colored pencils or markers to help with fabric choices.
  • Use the sketch to determine a size for the final design and use those measurements to figure the amount of fabric you will need to make the quilt.  
  • Work from the sketch directly or enlarge it into a pattern for the design. (See how to transfer pattern shapes to a fused fabric here.)

Stay tuned for the second method of designing art work: Variations on a Theme

 

See You in PA Soon?

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A sample for my Creating Graphic Imagery class.

 Soon I’ll be off to Lancaster PA to teach one of my favorite classes, Creating Graphic Imagery. Why is it a favorite? Because each and everyone of my students successfully creates original art work. It is such a thrill to see them make beautiful art quilts from sketch to final design.

The Quiltfest in Lancaster PA begins next week. You can see wonderful works of art at the show, visit me at a my May 9 lecture, or even join me for a class or two. Hope to see you there!

Hanging Two Ways

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Seedpods #1 by Laura Wasilowski

I never know which way to hang this type of quilt, one that is long and skinny. Should it go horizontally or vertically?

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I guess it depends on the space where it is on display and how you feel about the design.

So I’ve come up with a solution for art quilts of this disposition. Hang it two ways!

It requires two hanging sleeves on the back, one for a horizontal rod for the horizontal position and one for vertical for when you want it hang in in a narrower space.

sleevesforquiltHere’s how I hand stitch them to the back of the quilts. See that miter at the corner? Now a rod can slip into either sleeve and change the orientation.