As I begin to record another journal entry, I can’t help but feel so blessed and energized by the opportunity to share with you my love of art. This blog was started in 2012. Since its inception I’ve added over 900 posts. The entry I am recording today is the fourteenth in a series I call Operation Renovation. I initiated the discussion to distract my attention from the ongoing Covid 19 “stay at home order” and to retrofit a number of my art pieces for mounting on canvas. With thirteen projects already tackled let’s move on to # 14 and 15.
A little history
Back in May, 2016, I attended a multi-day class taught by Rayna Gilman, an improv fiber artist, at the Woodland Ridge Retreat. Using the knowledge I gained I created a number of fabric building blocks; many of them were combined to form Crossroads, Art Piece # 10.
One of the remaining blocks became the inspiration for This Way I, Art Piece # 7, and This Way II, Art Piece # 8. Let’s take a look at both projects.
If we lay them side by side you will notice that they have obvious similarities. While they are not mirror images, you can see where the original block was sliced vertically. The left section became This Way I while the other This Way II. Both were surrounded by a soft blue border, finished with facings, hanging sleeve and label. They remained in that condition until now.
This Way I and This Way II were similar in size. This Way I measured 10 3/4” x 14 1/4” while This Way II was 9 1/2” x 15 1/2”. The process of retrofitting both involved stripping away their facings, hanging sleeve, etc. Next I whacked away at their blue borders until they were nearly identical in size. To spruce up their appearance I chose three different colored fabrics. First to be added was a burnt orange. Giving the smoky orange competition is a jazzy gold. Last to be added was a fruity purple with printed flowers. Each color was chosen to bring attention to those already incorporated in the pieced center. The purple, although primarily visible on the perpendicular edges gives each fiber art quilt a joyful pop of color.
The final measurements for the two partners is 16” x 20”. Both were embellished with straight line quilting in the burnt orange border and a grouping of wavy lines in the jazzy gold.
assigning an identity
The names given to identify the fiber art quilts resulted because of the colorful angled strips used in the assembling of their centers. Those strips reminded me of the directional arrows one might observe on a road sign. The sign provides guidance on how to proceed just as I felt the angled strips were advising me. Since there are two siblings I decided to make their names unique by adding a I and a II at the end.
Before closing let me thank you for showing an interest in my activities. I am grateful for your participation and look forward to your comments.
Best wishes for a wonderful day!
The world of art has always brought me joy. From my childhood explorations with chalk and paint to my creations using fabric and thread, I have utilized art as my vehicle to stretch my wings and explore the world around me.
My favorite art form has been given many names; I know it as “free-form” quilting. This direction has taken me on a journey resulting in the formation of more than 200 art pieces. Most of them center strictly around the manipulation of fabric. Some of the later pieces have added elements of hand stitchery. All of them have brought me an immense sense of joy.
There is a local fabric store that is celebrating their first anniversary in business. To honor this anniversary they have offered a challenge. The challenge is to create a quilt measuring no larger than 20” x 20”. The deadline to submit entries is March 31, 2018. All projects must include this fabric.
So How Come?
Sound familiar? Sure it does! It is almost identical to the challenge I am running on this blog.
So how did I let myself get involved in another Mystery Challenge? I have frequented this store many times to search out fabrics for my ongoing projects. Their inventory includes many unusual prints which makes them a great resource. I’ve often been able to find just the right item to fit my needs. I also receive their newsletters.
In one of their emails they shared information about their upcoming anniversary as well as the opportunity to participate in their Mystery Challenge. As incentive to encourage participation they are offering cash prizes. The thought of winning cash probably draws people in but there is a small catch…an entrance fee. It’s not incredibly expensive. Just makes the cost of a fat quarter a bit much if one doesn’t follow through with the challenge.
The chance of winning money, surprisingly, is not my reason to join. The fabric wasn’t the draw either because I’m not particularly fond of the print or the colors. Gaining exposure through the judging process is what drew my attention. After tossing the idea around in my head, over and over again, I finally decided to take a leap. So here I am creating another project.
improvisation challenges you to rethink your common practices
Those were only a few of the words Sherri uses to describe improv. She also describes improv in this way:
Commitment on the Edge of the Unknown (page 97)
Where Should I Start?
The best place to start with a book is usually at the beginning. Like most books Sherri’s is divided into chapters, or scores, as she refers to them. I have read Sherri’s book from cover to cover many times. Many of the processes in her book The Improv Handbook for Modern Quilters: A Guide to Creating, Quilting, and Living Courageously are very familiar to me. The scores on curved piecing were the most intriguing though. Having already been exposed to the others I have decided to skip ahead and jump right into the fire. I’m going to begin with the “unknown.”
Score # 9
Using Sherri’s book as my inspiration I am going to follow her “Score # 9” to create my first “curved piece.” This will be a learning experience and a great opportunity to expand my horizons. So, let’s get started.
My first task was to harvest fabrics from my inventory to pair with the assigned fabric. I pulled some pinks, greens, oranges and blues. The focus fabric has hints of lime green incorporated in the pattern. Since lime green is one of my favorites I made sure that color was included.
I used my camera to take both color as well as mono photos of my fabrics to analyze them for their values. My hope was to achieve a well-rounded selection from the start.
Twisted Threads Colors Selection
Twisted Threads Mono Tones
Here’s how my color choices stacked up.
After choosing my fabrics it was time to get the construction process started.
Let’s Cut Fabric
I didn’t exactly follow Sherri’s instructions to a tee. She suggests using a scissors rather than a rotary cutter. I tried doing that but wasn’t fond of how my strips turned out. It is possible that if I had my scissors sharpened I may have been more successful. Not wanting to be bothered with that now I chose to use my rotary cutter. Keeping that sharp is much easier. I also used a ruler. Sherri believes in cutting her fabrics free-hand but once again I wasn’t pleased with that outcome either. Aren’t I a rebel!
I created many sets of wedge strips; here’s one of them.
Below is a larger selection.
Next I stitched groupings of wedge strips together.
Notice all the pins. Sherri uses loads of pins to temporarily hold her wedge strips together. This makes it easier to keep the strips aligned while stitching. Of course each pin is removed just before the needle reaches it. The more pins the better.
This is what a strip looked like after it was stitched but before it was pressed open.
I made multiple sets of wedge strips using different arrangements of fabric. The photo above shows some of them.
Composing A Design
After building my inventory of wedge strips it was time to start composing a design. I placed all of the strip sets on my design wall and played around with different arrangements. As I found groupings that I liked I took them to my sewing machine to stitch them together. Many times the attaching of the strips meant there were sections that needed removing. Those were trimmed using my rotary cutter. The removed strips were saved and added in new areas.
The whole process of pinning, stitching and trimming went on for hours. Each adjustment or addition changed my piece in dramatic ways.
Once I had a design that I was happy with I auditioned various fabrics to use for the background. I even enlisted the help of my hubby to narrow down the options. He had many great insights to share. I guess he’s been listening to me after all! 🙂 With a background chosen I was ready to proceed with the quilting.
I decided to fuse my design to the background fabric. Before doing so I turned under the raw edges 1/4” and pressed them in place. Next I hand stitched the outer edge to my background with a dark purple thread. Once my wedge design was securely fastened I used a variegated yellow thread to quilt it. On the background fabric I echoed around my center design with a matching, variegated purple thread.
After the quilting was complete I trimmed off the excess fabric; remember my piece couldn’t be larger than 20” x 20”. The raw edges were then protected by facings. A label and hanging sleeve were also added. This is how my piece looked when it was finished.
I’m sure you have probably noticed, from the labels on the photos above, that I have given this piece the name Twisted Threads. As I was creating my piece the process of cutting and turning the various groupings every direction brought to mind a vision of twisted threads. Twisted Threads then seemed like the natural choice for a name so that’s where the name came from.
Part of creating art is the evaluation process that comes at the end. On page 20 Sherri says:
Never judge a work as good or bad.
Instead she recommends that you
evaluate your work in a non-judgmental way.
She uses these questions to evaluate her pieces:
What surprised me?
What did I discover or learn?
What was satisfying about the process or outcome?
What was dissatisfying?
If dissatisfied, what can I do differently next time to be more satisfied?
Where do I want to go from here?
I found the process of creating my curved art piece challenging and interesting all at the same time. The steps taken to make the wedged strips was fun to follow. I enjoyed seeing how the different color combinations changed with the addition of new strips. Stitching the curved pieces together was the area that stretched me the most. Merging the concave edges with those that were convex is what tried my patience. This was a much slower process than I was used to but its results were far more rewarding.
If you had asked me right after I had finished my curved piece if I would be making another I probably would have said, “No!” Now that I have had some time to evaluate my experience and think about what I would do differently, my answer would be, “You Bet!”
As I stated earlier, merging the curved edges together into one was the most challenging. To help make the process easier in the future I would strive to create gentler curves. The curves with the more pronounced angles were the hardest to manage. If those were eliminated the experience would be much less stressful.
I also would resist the temptation to use up all of the trimmed-off segments. My piece, as it turned out, has so many different angles merging into one another. Each one of those sections is screaming for attention. If I had added breathing-room via the use of solid colors I believe my piece would have been much more relaxing to look at.
Moving forward I would like to improve my skills for the techniques that I have learned. I’d also like to explore the addition of bias strips as a means of adding negative space. My next attempt at creating a curved piece will most likely be on a larger scale. There will be no need to stay within the 20” x 20” dimensions.
There’s my evaluation. Time now to enter my project in the contest.
I am always so thankful for your visits and the wonderful comments you share. Your participation is very much appreciated!