Tuesday, 10 December 2013

Weste und Pullis für Wylee

Ich habe einen 2 1/2 jährigen Neffen , der in New York lebt. Ich kenne ihn von vielen Bildern, die mein Bruder auf Wylees Homepage für Freunde und seine  in Deutschland lebenden Geschwister einstellt. Die vergangenen Wochen habe ich Kinder-und Babyklamotten nähend verbracht.  Einmal für meinen kleinen Enkelsohn Florian und dann für Wyett.

DSC_0062
das ist die Vorderfront der Weste mit einem Stickmotiv auf der Beuteltasche und auf dem Rücken
DSC_0059
hier folgen die Bilder von den beiden Pullis. farblich passend zur Weste und auch mit Roboterstickmotiven ,die ich im online Shop von  Tatjana fand.
1-Wylees-Pulli
2-Wylees-Pulli

Friday, 15 November 2013

Zwei nachgereichte Bilder zum stattgehabten Nähmarathon

So jetzt kommen noch die Bilder von Biggi’s  schwarz-weißer Tasche . Das ist ihre Lieblingsfarbkombination . das Nähen mit diesen Stoffen gestaltete sich zu einem Kraftakt für meine Nähmaschine, da es sich um recht feste Dekostoffe handelte. So mussten wir auf einige Details verzichten, weil die Maschine über die dicken Stofflagen nicht nähen konnte. Die Tasche ist nichts desto trotz ein echter Hingucker geworden.
1
2

Wednesday, 13 November 2013

Meine neue Kurstasche Das Ergebnis der supertollen Anleitung "Schnabelinas Bag"

Zufällig entdeckte ich bei einer Internetrecherche die Sew Along Aktion von Schnabelinas  Bag. Die Tasche gefiel mir sehr, zu mal ich eine neue Kurstasche für meine Treffen mit meiner Quiltgruppe in Norden dringend benötigte. Ich verbrachte ein amüsantes, anstrengendes Wochenende mit einem Nähmarathon, an dem sich eine Freundin beteiligte. Die Fotos von ihrer schwarz/weißen Tasche werde ich nachreichen. Für meine Tasche habe ich Leinen und Patchworkstoffe aus meiner Restekiste verwand. Die reichlich bebilderte Anleitung von Schnabelina machte das Nähen einfach. Tausend Dank für diese Arbeit und die Bereitschaft Kreativität zu teilen.
tasche-1tasche-2tasche-3

Friday, 18 October 2013

Weitere Babyklamotten

Neben den monatlichen Artquilts, die ich hier noch nicht zeigen kann, wegen der geplanten Ausstellung im Mai nächsten Jahres auf den Patchworktagen in Einbeck, nähere Infos gibt es hier, nähe ich zur Entspannung  und weil es einfach Spaß macht, für den noch Bauchenkelsohn.
Kollektion-52-bis-68

Tuesday, 24 September 2013

rund um’s Baby

die Textilkunst spielt derzeit bei mir eine etwas untergeordnete Rolle. Im Moment steht das Nähen von Babyklamotten ganz im Vordergrund meiner Tagesaktivitäten, und es macht mir einen Heidenspaß für mein erstes Enkelkind Strampler und T-Shirts und zuletzt ein Overall zu nähen.
2-Säuglingskollektion
die erste Wäsche
Overall
der Overall
So ganz “neben bei “, wenn ich mich ein bisschen mehr kreativ austoben möchte arbeite ich an einem Wandbehang für das Kinderzimmer. Er ist eine Kombination aus Applikation- und Stickarbeit. Die Blöcke werde ich in der “Quilt as you go” Technik ohne Zwischenstreifen aneinander nähen.So habe ich auch eine Handarbeit für die Abendstunden .
4
die ersten 4 Blöcke , 3 sind bereits gesandwicht und gequiltet

Tuesday, 20 August 2013

Mitbringsel vom Quiltfestival in Birmingham

Es ist wirklich schon sehr viel Zeit vergangen seit meinem letzten Post. Meine Arbeiten für Artquilt online kann ich erst hier auf meinem Blog präsentieren, wenn die Arbeiten auf den Patchworktagen 2014 in Einbeck ausgestellt worden sind. Nähere Infos darüber sind hier nachzulesen. Jetzt habe ich aber endlich etwas genäht , dass ich zeigen kann. Den Stoff und die Anleitung für diese Crazykatze musste ich auf dem Quiltfestival in Birmingham kaufen. Eine fertige Katze, die an dem Stand ausgestellt wurde, war leider nicht verkäuflich. Ich brauchte aber unbedingt ein Mitbringsel für liebe Freunde, die das Hundesitting an dem Sonntag übernommen hatten, an dem mein Mann auf einem Kunsthandwerkermarkt präsent sein musste. So habe ich mir einige Fatquarter irischer Stoffe gekauft und das Schnittmuster für die Katze.
DSC_0001a

Tuesday, 21 May 2013

Timing

Date when the design work was started: :28.12.2012
completed: 30.01.2013
Date when the embroidery  started:10.02.2013
Completed. 21.05.2013
Total numbers of hours spent working on the design work: 70 hours
the embroidery work :28 hours
Costing fabrics :ca 40 euro
Batting : ca 5  euro
Embrodery yarns . 20 Euro

Storage of Work, Materials, Tools and Equipment
The design work in process: Ikea storage boxes labeled by their contents The completed design work: The same boxes also labeled by their contents The colored papers are in a ring binder and all papers are scanned
Inks, paints, glues and brushes are stored in several chests of drawers. Embroidery yarn are sorted by colours in plastic boxes also the beads and the material for embellishments like tyvek and silk roads The fabrics are sorted by colour in my cupboard in my studio The sewing machine is in my studio on the sewing table
The electrical equipment like iron and iron table are stored in my shelving system.

Health and Safety Rules Observed

Use care when cutting with a utility knife – use a cutting board to ensure your work does not slip
Use the heat gun and paints only with opened window Take a rest after several hours of stitching or sewing
No pins in the mouth Do not rub your eyes with paint on your hands

Evaluation The crumbling of livelihood

That is my theme for my wallhanging:

This in consequence of global warming by rising CO2 emissions as a result of the sell of natural resources for economic reasons .I want to fix my fears and anxieties on the example Iceland I thought about my impressions of the disillusionment that attacked me at our second walking tour on Iceland. I had the impression that Iceland should be sold .

image

The form for my feelings of despair and depressed was the starting point for my digital design

 

The downward radiation represent the negative feelings. But I do not see anything black on black. I want to create in my work also positive moments. I can present this with the same shape, if I turn it around 180 degrees. The rays are now upward. I see in this new form a struggle of responsibility against exploitation. My color choice express the hope of favorable prospects and has been represented by my used coloured paper . All subsequent design work for my asessment based on this form. They also form the framework for the surface design. I emphasized the head-shaped poles with highly raised embroidery and I emphasize the wedging up and down directed beams with pin tucking stitching.

image  image

 

yes,I feel really proud. I think that I have been able to highlight the main elements of my printed digital design with the surface treatment. I initially had a huge fear at all to edit the finished printed fabric with embroidery. I was afraid to spoil the great fabric printing with any hand or machine embroidery.

In the case of the a following  large-scale embroidery with shirred fabric manipulations, I would  work this on a separate piece of fabric and then applied to the larger area. Such a procedure would prevent the horrible bumps.

chapter 12 Study Three Artists

Barbara Lee Smith
Barbara Lee Smith has brought surface design and machine embroidery to a new artistic level by fusing layer upon layer of synthetic fabric and using the stitch as a drawing tool. Her surfaces are rich with color, painted, printed, and collaged, stitched drawings. The organic shapes and elusive colors build to become a complex and intriguing environment that can be contemplated at great length. Her love of luminous color is evident in all her work. Barbara has taught, exhibited and lectured nationally and internationally. Her work is included in several prominent museums and public collections.

Barbara Lee Smith uses intricate stitching techniques and various washes of pigment to create elegant textile landscapes. Her works "are often created in a series, in response to inspiration related to a particular place or experience."
http://jsauergallery.com
image   image

"Estuary," by Barbara Lee Smith and a detail  (carlaseaquist.com)

image 
Detail "TYBEE ISLAND III"
Barbara Lee Smith
Synthetic fabric: painted, printed, collaged, fused and stitched
18" x 48"( http://www.jsauergallery.com) 


Jae Maries
Jae Maries  main theme since graduating from Reading University (BA Hons Fine Art) has been to represent people in everyday situations. She would often make use of her thumb-nail sketches as inspiration which were then developed into life-size wall-hung textile pieces. More recently however, Jae’s work has changed direction and she is creating panels using her daily Visual Diaries as her resource. The marks, symbols and relevant studio fragments represent the events, feelings and actions that impact on Jae in her everyday life. She trained as an oil painter and moved into stitched textiles later in her career with the intention of combining textured stitched surfaces with painted fabric sections. The challenge of working simultaneously with oil painted surfaces and fabric is technically stretching but she enjoys the contrast between the spontaneity of the brush stroke and the hands-on tactile approach that comes with dyeing, manipulating and stitching into fabric. As well as being an artist, Jae is an internationally recognized lecturer and tutor in creative textiles and has taught in Australia and USA. She has also exhibited widely, in Japan, Israel, USA and Switzerland as well as the UK. She is an exhibiting member of 62 Group of Textile Artists (taking over the Chair in December 2009) and Contextus.
Her inspiration comes from the  world surrounding her. Her sketches often form the starting points from which she develops and expands her ideas. More recently her inspiration  comes from her personal reactions to everyday situations. She is enjoying the challenge of interpreting, in an abstracted way, her feelings, actions or visual stimuli on a daily basis.
Her base material is usually unbleached calico. If she is painting it will be prepared to take the oil paint. If however she is printing and using fabric inks then she uses a fabric prepared to take the pigments.
TECHNIQUES
She often  use  screen printing inks (Sericol)often applied after the fabric has been manipulated and stitched. The dyes are applied with a palette knife or sponge roller. These fabrics are are then applied to the oil painted surfaces which have been stitched before the application of paint.
Jae uses a very restricted palette and selects colours that will underline the feelings and ideas that she wants to express in a piece of work. The prestitched fabric areas provide the texture which she balances carefully with plainer areas.
Simple hand stitches are Jae's favourite method of working. They are minimal but can provide strong accents in the work. Free machine straight stitching is another weapon in her armoury but it is used as a functional tool, holding pieces of fabric together. She very rarely use stitches decoratively and have an aversion to glittery threads unless they are essential to the underlying ideas of the piece of work.( http://www.jaemaries.com/2.html)

'image 
Shopping Again ( from Connecting Art to Stitches by Sandra Meech ; Batsford 2009)


Ineke Berlyn
Ineke Berlyn is an international prize winning textile artist, who combines her love for colour, fabric and travelling to create an ever changing collection of work and sketchbooks.
Ineke has always had a strong interest in textiles before embarking on a City and Guilds Course in Patchwork and Quilting where she developed a love for the landscape around her home in Worcestershire and the beautiful views she encountered on her travels. Her first major landscape work: the ‘Omaha’ quilt – based on a photograph taken at the landing beaches of Normandy, was chosen to form part of the ‘Transforming Tradition’ Exhibition organized by the Quilters Guild of the British Isles. ‘Omaha’ also won a First prize at Quilts UK. ‘Salt and all its facets’ a three dimensional, mixed media piece won first prize in a competition organized by a salt museum in the Netherlands. In August 2006 ‘by the soaring of seagulls’ created using a new and exciting technique involving sheers and organza, earned a first prize in the innovative category at the Festival of Quilts in Birmingham.
The bright ‘Here Comes the Sun’ won first prize in 2006 and in 2007 the ‘Bluebells’ again in organza won best of Show at ‘Quilts in the Garden’ at Trent ham Gardens near Stoke on Trent. In the summer of 2008 her ‘Mother of the Bride’ dress won prizes in the contemporary small section at the Festival of Quilts and at Trentham.
Her quilts have travelled to Europe, Japan and Canada with exhibitions like European Art Quilt (http://www.inekeberlyn.com/)
image
Seagulls I by Ineke Berlyn( from Landscapes in Contemporary Quilts by Ineke Berlyn; Batsford 2006)

image
Lutradur Artwork by Ineke Berlyn (http://www.flickr.com/photos/colouricious/)

Sunday, 5 May 2013

Two thirds of time for my Wallhanging


Yes in fact , I have not reported a very long time. I've been busy! With embroidery .... and also pondering. The latter because of the uneven wide distribution of the wall hanging, despite intensive embroidering, leading to buckling, which  I did not like. A few days ago, I made ​​short work and fixed the wallhanging in very few sections on a fusible interfacing-very carefully, starting from the center and holding together the width, . And voila --- the bumps were almost gone. Therefore now it’s  time to present the interim results.

4-zweidrittelzeit
picture 1
3-zweidrittelzeit
picture 2
2-zweidrittelzeit
picture 3
zweidrittelzeit
picture 4
It still lacks some of the machine embroidery and then the assembly on the rectangular background

Friday, 8 March 2013

My proceed

I want to connect my interim report about the progress of my work on the wall hanging with a few questions to my readers and fellow students. I worked directly the machine embroidery with the pintuck foot on the wall hanging . It is sandwiched with a cotton fleece. Where the piping stop there the fabric become folded. I have to gather the more of this by quilting or embroidery. I had tried to reduce the pleads below the tucks with an open chain stitch in the area shown.

5
picture 1
3
picture 2
 
I don't like the result. Another option would be to stitch close running stitches parallel to the black concave marks.

2
picture 3 without drawed marks
2a
picture 4 with drawing marks
  
I think, that you can see my drawn marks only, if you would zoom the spezial part of the picture
How would you manage the resulting fabric foldes to prevent a bulging of the quilt?
A friend, a textile artist, considered it necessary to form distances by the embroidery and quilting, coarse stitches at the bottom of the image and fine thin stitches and quilting lines in the upper portion of the image to simulate distance. I am now confused. ?

4
picturen 5
Should I overstitching the small seeds with a coarser embroidery stitches
1
picture 6
I want to emphasize just the eye area from the shadowy puffin with trellis stitches.

Saturday, 16 February 2013

Module six chapter 11

after I received Siâns comment with her suggestions for further design development, I have conducted new  studies on the forms and patterned paper with Photoshop. A blessing that there is Photoshop. So I can make a detailed picture of my ideas. I then complied her  task and have printed the image in DINA4 sections andI have form together these sections to  a complete picture. This overall impression had convinced myself.  I wanted to have it as a textile image in the same way .I made my first design steps with embroidery and fabric manipulation with very transparent chiffon on a DINA4 fabric printing   I became increasingly certain that I wanted to work my design with embroidery and layering as a textile image into a whole cloth. I placed the order to Laura Kemshall's Fingerprint. A few days ago I received my photo print. I am thrilled with the result. You should have seen me, how I'm hopping around my home with the printed fabric in the arm.
Now I started sending   a few pictures with my first embroidery and quiltings

w1
picture 1
w5 picture 2
I will work the pintuck on the stylized wings, as I have already begun
DSC_0007picture 3
Part of the head, I covered with pleated organza, quilted and then processed with a heat gun. With the result of the texture I am very satisfied.
w2picture 4
The lower orange head I will confer texture with dyed embroidery and ruffled gauze. The pictures shows a starting point of my manipulations. The background I will quilting sead stitches. That's so far my working concept.
w3picture 5

Sunday, 20 January 2013

ein neues Kissen - a new pillow

Bei meiner Recherche nach Bildern mit Kreisen, Ringen, Kringeln stieß ich auf Bilder von “Recycled Circles “ , entworfen von Jane La Fazio. Mein Interesse war geweckt und ich bestellte mir die DVD. Diese Ringe sind eine tolle Möglichkeit der Stoffresteverarbeitung . Und ich konnte  wunderbar einmal die Vielfalt der Zierstiche meiner Nähmachine ausprobieren. Aus der Musterprobe habe ich ein Kissen genäht. Denn…. Kissen kann ich nicht genug haben.

During my research for pictures with circles, rings, donuts, I came across pictures of "Recycled Circles", designed by Jane La Fazio. My interest was piqued and I ordered the DVD. These rings are a great way of processing fabric scraps. And I could even try the wonderful variety of decorative stitches of my sewing machine. From the pattern block, I sewed a pillow. Because .... Pillow I can not have enough

ringkissena

Sunday, 6 January 2013

chapter nine and ten




Chapter nine and ten
I'll edit the tasks of these two chapters together because they form a unit for me. In working out the
design, I had determined that it made sense for me to work through a detailed task after another
meticulously after many false starts and digressions. I had a too tight prefabricated image in mind, as
I had shown in the previous chapter in the collage.
The main task of these chapter is the design development with forms of the previous chapter with
colored paper that should have different textures and transparencies

picture 1

Painted tissue paper with two different brusho colors and gesso blobs, folded over and carefully unfolded again and let dry. Then, a frottage over thin wire with oil paint sticks


picture 2


1 different colors of Brusho were applied on crushed parchment paper with a thick brush, so only a little white paper surface remained. For drying the crumpled paper was unfolded carefully. . After drying, a little ironing, then a frottage had been placed with crayons over a teaspoon . 2 Frottage on a tissue paper over a stamp of packet strings with a wax candle, paint with two different colors of Brusho. 3. Frottage on a tissue paper over a linocut stamp with oil paint sticks. 4+5 also frottages 6. Crumpled tissue paper painted with PVA glue. After drying painted with crayons and glued on watercolor paper.7. kitchen foil painted with glue and when dry with brusho. The picture was taken in front of a window to get a transparency effect. 8. Kitchen paper was painted with brusho and  then stamped with a folded cartridge paper. 9. the same background but stamped with a sponge. 10. A stamped and painted textile wallpaper. 11. The background: different spray paints. After drying, ironing on this stencil from freezer paper. and sprayed with different colors. The Motif are the outlines of my drawing of a flying puffin. 12. From a repeatedly folded paper the pattern of a bird's feather was cut. I received a template with a lace pattern for the color spray work

picture 3


 
I played with stamps from  forms of the previous chapter and my painted papers to develop different designs for my assessment
 
picture 4
picture 5

picture 6

    
When considering of that draft after a few days the lack  of a focus bothered. The viewer's eye wanders aimlessly across the picture surface
 
picture 7

picture 8 




 The developing pattern with the combination of these papers I prefer than the previous design. The contrast is given and I have a textured surface. This is especially true for the result in the second row

picture 9
 


The more I played with my papers and the forms after cut out my selected templatethe the more I was unhappy and indecisive. The enforced break due to the Christmas holidays, New Year's and the house full of visiting , this time managed a sufficient distance for a fresh start with a different form from the 8.Kapitel. The result(4) convinced me right away.




I had chosen the form primarily for the terms: hopeless, discouraged, depressed, resigned, devastated . The downward radiation represent the negative feelings. I do not see anything black on black. I want to create in my work also positive moments. I can present this with the same shape, if I turn it  around 180 degrees. The rays are now upward. I see in this new form a struggle of responsibility against exploitation. My color choice express the hope of favorable prospects. 

picture 11
This could be  one  way to make the indicate round shapes, as reversappliqué with machine embroidery.

picture 12
I will make the wall hanging in two layers with a very transparent top layer of thin Lutradur , very thin polyesther chiffon or silk organza. I will embroider the outline of the Puffin head and possibly the rays of the forms on that . The latter, however, I will only decide when I work on the whole cloth.

picture 13
A third option would be to work the forms as an application with embroidery on transparent backgroundAnother option for me is the opportunity to work the compact lower part of the wall hanging from  cotton satin. And then to transfer the print of my design  to the cloth with an acrylic medium and to emphasize important details using a combination of machine and hand embroidery.