This is a Lutradur bowl made as an inspirational prototype for Laine Canivet’s workshop at next summer’s Quilting in the Trees retreat. I fused two layers together with Steam A Seam 2, stitched extra layers to form the base, then used Wonderfil Accent rayon in coral to embellish, along with other neutral variegated threads. I enjoy the translucency of Lutradur, and that it doesn’t fray! For other ideas involving heat and paint, see here.
This afternoon I resumed the cafe life. This time I sat in the glassed in porch looking north and selected some elements of the landscape to convey gloomy clouds hanging over a misty landscape with modern street lights in front. Reading that description, it sounds like an oil painting perhaps by Thomas Kincade or those paintings of Paris in the rain (are they all painted by the same person or is there a whole atelier full of artists pouting when the sun comes out???? “encore du soleil, quelle misere!”)
I did better with the ink and ruling pen, using a piece of scratch paper to start the ink flowing, so no nasty blobs, and it dried much faster. This is a very edited landscape and I could probably sit in the same spot, pick out different elements, and make a completely different looking scene.
They do say that the mark of a good composition is one that works in any orientation, so perhaps I’ve achieved that for once.
While in the workshop with Susan McGregor at Satin Moon last week, I felt that the piece would be turned this way (second photo). That was how her sample piece was displayed and I was not aiming for a landscape effect, just wanted to learn the technique and play with the subtle batik colors.
At the end of the day, Susan and I were looking at my work and she suggested turning it sideways, (third and fourth photos).
At home I thought about it some more, and discussed with a family member, and we decided that the third photo was most suggestive of a landscape. Based on that, I laid a piece of fusible embroidery thread across the bottom of the piece and fused it on to use as a cutting guide.
This piece is still not finished because as mentioned earlier it’s to be embellished. While talking about the logistics of embellishment with fellow FAD members, people challenged me to hold it up in different orientations to rethink it, and I’m now leaning towards the last photo, with the curved edge at the top.
Who knows, perhaps in the course of embellishing some other epiphany will come? But I’m thinking to take that as the orientation for the embellishment.
In any case, this technique, which is topstitching the curves and matching the top thread to the fabric (in most cases) has many possibilities and I plan to play and experiment. Although my stash doesn’t contain that much batik, I’m thinking paisley prints, commercial marbled fabric like Moda, and some of my hand dyed fabric. So I look on this piece as the first of many ~ this is a great technique to have in the repertoire.