Line and shape will appear with the area, type and size of stitch used, and texture is what stitching is all about!Īfter visualizing what I want to do, I start stitching. Color and value can be moderated with the colors and quantity of thread. The stitching will create or affect each of these. Now is the time to review the elements of art the visual components of color, form, line, shape, space, texture, and value. I also add an overall layer of filling (usually a very light cotton batting) and backing fabric at this time. I add some fabric confetti under tulle to simulate a texture in an area that has no texture. If I want to lighten an area, I use organza to add both light and shine. These layers solidify my composition and enhance the dimensionality.įor example, if I want to soften a harsh or detailed background, I may overlay it with tulle or slash it so that it becomes a texture rather than an image. I secure these fabrics in many ways including pins, thread basting, spray basting, glue stick – whatever the fabric requires. I add additional backing layers to trapunto areas. I add fabrics below the photo so that I can cut sections or slashes into the photo to reveal the lower layers. I use tulle or organza to cover areas much as a painter uses glazes. I layer above and below the photo fabric. high gloss photo paper on your own printer.ĭon’t fight the process – learn its limitations and how to use or overcome them! Using digital printing is not like sending a picture for replication, you need to understand the technical process just as you do with other processes. It’s just like when you ink-jet print on standard copier paper vs. I have heard fiber artists unfairly bemoan the printer for this, but it is a fact of printing. Often, because of the relative low resolution and the absorbent quality of fabric printing, there is a loss of contrast in the lightest and darkest areas of a photo or a shift of color from the projected color seen on a monitor to the reflective ink colors used in digital printing. When the printed fabric arrives, I relook at the overall composition and contrast of the photo and see if it was affected by the printing process. They see through my eyes for just a moment. It is a result of an actual encounter I had with a person, place or thing. It lets the viewer know that the image is part of this world. I like the “reality” that a photo gives my piece. That is why I would not use a photo that is not my original. The photo is the underlying sketch and inspiration for my finished piece. By the time my image is sent to Spoonflower for printing, I have a good sense of the layering and stitching that will happen later. Additional decisions come with the cropping, editing and preparation for printing. My artistic decisions start as the subject is chosen, the ISO or aperture is set, and the shutter is clicked. The photo is a record of what I saw, and final work is how I saw it.” Other fabrics are added both above and below the photo layer, then both hand and machine stitched to create the textures. And then the whole fabric thing really throws them. Along with “How long did that take?” and “My Grandma makes quilts” comments, the question that I hear frequently is, “So is that ‘just’ a photograph or what is it?” The visitor can tell parts of my work are realistic, but other parts not so much. My studio is in a public art center, so I have many visitors stop in to see my work.
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