Strawberries make mighty fine prints. This may well fade to browns, but I love transitions, so that’s okay! Just using the trimmed tops – we ate the berries!
Here is July’s CQ 11″ X 11″ Journal quilt. The year’s theme is ‘Text’. This quarter the techniques all use applied colour, (as opposed to dyed colour). Here I have drawn onto the cloth with Inktense pencils, then sprayed with water. This does cause colour-bleed, but I like it. Bubble-stitching with blue and then white thread, emphasises the blurring. To focus on the lettering I have adjusted the scale of the quilting.
Last 11″ X 11″ CQ Journal quilt of the second quarter. Year’s theme ‘Text’, quarter’s method – stitch. June is hand stitched in threads which contrast the text and background.
Cwilt Cymru, with whom I exhibit, are going to be at the Jen Jones Welsh Quilt Centre in June. Our work will be smaller pieces than usual, (we are exhibiting there again in 2019 with work that has been more slow-burn) based loosely on a theme of ‘Light and Dark’. My sci-fi brain instantly went ‘ad astra’ when I heard the words, and I enjoyed working in a less introspective and cerebral way, whilst still making the work complex and, I hope, interesting and ‘faceted’.
This quarter’s focus is on using stitch to apply text to fabric. April’s 11″ x 11″ journal quilt has the word free-motion machine-quilted. I am sticking to a blue and white colour way throughout the year. The stitching followed circular marks made with a Frixion pen – I spiralled outwards from the centre by eye. The ‘i’s were dotted using a Derwent Graphik pen. My normal handwriting is extremely messy but the delightful, almost meditative sense of rhythm that I fall into when free-motion quilting brings out the deep-down style of cursive I was taught in primary school, (using a dip pen) – with the idiosyncratic open ‘p’ Miss Bulmer of Moorgate Primary preferred. Her ‘f’s were even more unusual double-looped affairs! I loved that school!!
May uses my favourite text-to-fabric method – appealing to me because of my interest in negative space. Tight layers of meander surround the letter-shaped voids.
Working on a theme of ‘text’, I am going to use a different base technique for each quarter. I decided to stick to white fabric and dark blue media, with white or blue stitching. The size requirement this year is 11″ x 11″.
First quarter is print.
Using water soluble printing ink and a wood block alphabet from Colouricious, what I like about this is how the white thread in the tight meander picks up some of the ink.
‘Scuse the stray thread invading the photograph! Monoprint – inked plate, fabric on top, drawn into with an empty ballpoint pen, then a pull from the same plate. I played deliberately with the knowledge that monoprinting can be a mirror image.
My current favourite – I call it ‘instant breakdown’. Lettering drawn onto a silk screen using graphite, breaks down over several pulls.
On Tuesday, at the March meeting of Marches Book Arts Group member Mike Clements showed us how to do Coptic binding using two needles. As a stitcher, I was enthusiastic but there is some glue involved so my first attempt has the usual tell-tale gummy fingermarks. Mike is a great teacher though: patient, genial and, of course, hugely knowledgeable.
I have had a collection of my grandson’s first two years of painting gathered for a while, kept with the intention of making them into a book. I had them folded and arranged as three sheet signatures, but I wasn’t sure which binding method to use and how to build the covers. This method was what I have been waiting to discover!
The papers making the pages are a little too thin, but I could have strengthened the spines by adding fabric or stronger paper, if I was not too brimming with enthusiasm and keen to create a finish. With this method, the covers can enclose a strengthening medium, so I was able to place some medium density card between the cartridge paper layers. I relished the chance to use some delicious stranded silks for the stitching – I am allowing myself ‘beginner’ status and whilst my knots do not lie perfectly evenly, I am still thrilled with the result. I am going to return the book to my grandson and hope that he uses it to draw into. Laura Kemshall uses painted, printed and sketched papers to create sketchbooks that can be further embellished, and that gave me the germ of this idea.
I have just received a complimentary copy of the March edition of Pretty Patches magazine which contains an, (also complimentary) interview about me! Sadly it came to late to share in any useful way as, after not receiving a copy, I tried to buy one and the edition had sold out, (not claiming any credit!).