|loose land-and-sky combinations|
I'm working on three 'minis' here. I'm not working from photos as I usually do. (That's a big first for me!) Each landscape will be about 3x3" square. That's really tough to hold, so I thought I would put then in a row and work on them like this so I have more to hang on to as I manipulate the pieces under the machine needle.
I have piles of fabrics. It doesn't matter much to me whether they are hand dyes or commercial batiks. I'm just looking for the right colour for the job. The placed fabrics are fused onto a tough, stiff cotton weave, and then further stabilized. I love stabilizer. I hate puckering. I use Sulky Peel&Stick exclusively (see sponsor link on sidebar). It's my favourite.
Then I start stitching. I put down the thread from farthest point to closes point. Typically, the distant horizon will have shorter stitch lengths than the foregound. And so, with my box of hundreds of tints, tones, and shades of green - I begin! (This is a different trio, bit I thought the photo was clearer.)
I stitch some up. I stitch some to the side. This is purely experimental. I have no idea of how these will turn out. So far, I've used four different greens. I pick a few more variations of greens and I keep sewing. This is all free-motion stitching - sometimes straight stitch and sometimes zigzag. I've used decorative stitches just for effect when I need a really random look.
Every now and then, I place a working mat on top just to see how the composition is coming along. These pieces are bigger than what you'll view once it's in the frame. I need to be sure that the flowers I stitch will be in the scene and not out of the 'margin'. Using a working mat helps keep it all in balance.
Here I'm adding canola by machine. I usually do this by hand in my larger pieces, bit this is so small to fiddle with, I find the free motion can get the effect I'm wanting for these minis.
I often 'sew upside-down'. You are seeing the last image from my point of view while working. Because I stitch back to front (horizon to foreground), I find that I can see where I'm stitching easier if the piece has it's finished portion facing me, and the unstitched cloth yet behind the needle.
After it's all filled in, I clean up the work. I adore small, sharp snips that are curved. My snips MUST be curved. Too many times I have used fancy-schmancy staight embroidery scissors and damaged the work. Curved snips are best for me - see how they don't touch or poke or get caught in any other threads?
These are Singer embroidery scissors, and are just like cuticle scissors from the pharmacy.
One last check with the potential frame and I think it's done. I like it! : )
And here's another with blue flax. I may still add trees out on the far horizon. I'm not sure yet. There's something beautiful to me about the openness.
|a little flax|
There you have it. I'm not sure which of these will end up where. Some will go to Handmade House, and some will be stockpiled for Roulleau / Dog River Days Farmers' Market at the end of the month.
p.s. Isn't the colour great in these photos!? I'm working at night here with no sunshine whatsoever. I LOVE the day bulbs and my ottlight so much. : )
Have a great weekend, and I hope you are enjoying summer!