Art QuiltingQuilting Art
Quilting, Art Quilting and Fibre Art Quilting
City Landscapes Breathtaking use of color. FARBE! She' s dreaming about color, fibre, ribbon and beauty! Landscapes (mountains, layers) - enjoy the bright colours! Wendy Cat Quilts has added lots of seams and seams to make this song even more interesting.
It looks simply amazing - many thanks for mailing me a copy of Vendy. whitewashed duvet in one go - also loves the monochrome colour history. Artitfex Almanac: Rosalie Dace Spice Route - Loving the red, loving their rapprochement with the undertones. Ludmila Aristova, The Alternation of Seasons/Summer - nice work, some breathtaking music!
Making a Fabric Collage Art Quilt from a Picture
I am Leni Levenson Wiener, I am a well-known ambassador for the city of Vienna and the writer of several rare and popular art-quests. For more information (including a workshops in a book), see my latest publication Picorial Art Guidebook. It is not hard to create an art quilted material collar from a photo.
Even if the photograph is much more complicated, these basic principles do not alter - simply split the photograph into clear parts and handle each one equally. I' m always starting with a picture. I chose a picture of a individual bulb for this one. They are tasty with flavoured chocolate and almonds, but that's another tale for another age!
First thing I do is to make the picture easier with a computer application - either Photoshop (or Photoshop Elements with the cut-out filter) or a free to download application named Gimp (with the colour poster feature). Either allows you to decrease the number of colours in your picture to show clear colour differences that are easily traceable as patterns - and you can check the degree of detail in your art aquil.
I used Gimp (at stage 5) to make this easy sample (if you are frightened by the computer part, I have a sample on my website www.leniwiener.com). I' m printing this sample in the format of my completed work of art - in this case the one that fits on a sheet of sheet of paper.
The one thing to note is that these applications can sometimes alter the colour a little, so I still reference the source image for my choice of colour. The value is what I use the sample for. The value relates to the ratio of light/medium/dark of each colour to the others and gives the impression of intensity and size.
If you think monochrome photograph, and you have a good grasp of the readings. A lot of art galleries are printing their photos in monochrome to see value changes, but this can be a problem if two different colours have the same value - they look the same in a monochrome picture and can often merge together.
Instead, I created a greyscale map that helped me decide the value on the photograph, and then I found a material with the same value. Let's begin with the brighter part of the design. When I hold the greyscale map next to this area of the photograph, I see the grayscale that is nearest, somewhere between a #6 and a #7 (this is an art, not a science).
I' ll put this number on the area on the design and go to my cloth to look for a material whose colour I want, which is also a value of #6 or #7. I' m doing this for all values/colors in the sample. These two small colour changes around the brightest spot - one looks either light grey and the other kind of rose - can either be incorporated or simply mixed into the #5 part.
You are looking to be a #4 or #5 as well but in different colours. Enjoy colour and patterns - the more surprising the patterns, the more interesting your completed work of art will be. Stratification of patterns and colours makes the final products so much more interesting than direct translation.
I' ll begin with the biggest colour area, in this case the #6/7 ruddy, and I' ll slice the whole bulb out of this one. This also means that the completed bulb is self-contained, making it simple to play on different background. I' ll begin with frozen papers. It has a shiny and a blunt side.
With a light box or pane I place the frozen tissue on the blunt side of the sample and feel it around the mould with a retractable marker pen. Don't be worried about all the small giant gangy line that the design produces, just smoothen those line into something that's easily cropped out. If I place this freezing chart on the right side of my cloth and push for a few seconds with a hot flattener, the shiny side sticks to the same.
I can now trim around the form and material I' ve sketched, and when I take the material off the tissue, I have my foundations. I' ll do the same for the #8 pieces, with the same sheet of frozenaper. After cutting away the #8 pieces, the freeze wrap sample will help me align the positioning on my foot.
For the remainder of the moulds, I use the same sheet of frozen tissue when I can and lay it on the base until I'm done. As soon as I am happy, I use a tooth pick to put small swabs of cloth adhesive under the items to keep them in place.
My pear's a team now. I could have many of these separate entities that would finally be put together to re-interpret the photograph. I' ve chosen a beautiful blue cloth. A tip: For most fabrics the clear monofilament yarn works well, but for very deep colours it leaves a reflective effect, so use smoking monofilament for these areas.
Never use monofilament in the package - your favourite package yarn in a natural colour gives the monofilament something to "grasp" for a better bite. Practical seam is finished and the art aquilt is quilted if you wish; end the edge and you have a cloth collar from a photograph.