Ink Week, Part 3

Ink Week is becoming Ink Fortnight, but never mind, I'm still forging ahead! If you missed the previous posts, please click here for Part 1, or click here for Part 2.

Today was by far the most ambitious day planned, and God definitely smiled on me, because it went exactly as I had hoped. As each layer goes on, the consequences of a mistake get larger, so I am very grateful to come through the tricky part intact!

I'm making Leanne Beasley's stitchery quilt, Down in the Garden. This round flower is used all over the quilt. I thought that if I left out the inner circle and the dot, it would look like a little sunflower. I always love sunflowers!

My first thought was to fill the centre of the "sunflower" with a couched lattice, as I did in one of the Best Friends Forever motifs. But, I want to get away from the intensive embroidery I've done on that project, so my second thought was this fancy shaded ink that you see here.

Those shaded gold centres are one of the key features of the whole quilt, so they had to work. I reused my Day 2 test sheet, with just a few extra petals drawn on for the other flowers. By reusing the same sheet, it is easy to see if all the colours are working well together.

1. I started by mixing a dark, sludgy brown from my three secondary colours, Tsukineko's Emerald, orange (which is actually called "Tangerine"), and the dark purple Wisteria. Strictly speaking, it is better to mix from the three primary colours, but I didn't buy red, just some Rose Pink. My sludge was not the nicest brown.
2. Fortunately, I have been saving all my mixes from previous days, which I highly recommend. I took some of my yellow orange petal mix from Day 2, added more orange, then drop by drop added some of the sludge from #1 until it turned this caramel brown. It was still a little greenish, though, until
3. I added a couple drops of the Rose Pink. Success!
4. For the gold part of the centres I again went back to the yellow orange petal mix from Day 2, added some water, a drop of the #1 sludge, and a drop of the pure Lemon Yellow from the bottle, and lucked into the right colour pretty quickly.
5. I loaded the gold and the caramel onto separate Fantastix. For the centres I began with a circle of the gold in the middle, leaving a wide white border inside the line. Then I used the caramel to circle around the gold, still well inside the line, and blended it over the gold towards the centre. I tested the circles with a centred highlight, and an off-centre highlight. I decided I liked the off-centre one best.
6. Even though I was satisfied at that point, I thought I would try a circle with some extra water in the middle before I put in the ink, to see if it blended better. It did not! The gold washed out, and the caramel was too dark by contrast. I went ahead and used the #5 formula to ink the centre block, the four watering cans, and the 16 individual flowers shown below.
7. After a rest and a quick lunch I sat down with the purple, Wisteria. The first drop is the pure undiluted ink, and below that is the diluted ink. 
8. In my mind I was thinking of something like DMC 327 for these flowers, so I added some of the caramel mix from #3 to the diluted purple. This was close, but a little too brown, so I added a few drops more of the Wisteria, and a little more water, until
9. It looked good to me!

There are twelve of these individual yellow flowers in the overall quilt design. I made a few extra so I could pick the best ones. I still had a few white squares of fabric left over, and over the weekend it occurred to me to use them to test the other flowers as well:

Maybe they will end up in the quilt, maybe not. The purple daisy petals were quite narrow...

...so I was glad to have the extra practice before I inked the larger blocks!

With tight spaces like this, I found it was best to start in the middle of the widest petal, and work out to the points as the Fantastix dried out.

As I suspected, it was too optimistic to think I could finish all the flowers in one day. But, it's definitely coming along!

I would also like to do some two-colour shading on the remaining two types of flowers. That'll be Day 4! Please click here to read on.

Ink Week, Part 2

In Part 1 of Ink Week, I inadvertently created a splotchy pattern with the Cerulean Blue Tsukineko ink in the border of two of my birdhouse blocks for Leanne Beasley's Down in the Garden stitchery quilt. In the end, I liked those ones the best, so I thought I would do the same technique to fill in the watering cans in four of the other blocks.

However, I learned that the Cool Gray ink behaves rather differently! The blue ink really moves out the edges of the brushstroke, while the grey seems to even itself out. In the photo above, the splotches have almost vanished.

I also learned that the ink tends to settle to the bottom of the cup over time. This was actually helpful, because you end up with more pigment at the tip of the brush, which then pushes out the edge of the brushstroke. So the last piece I did came out splotchier, as you can see in the photo I took while it was still wet:

But, once it dried, the edges of the strokes still blended out:

Which is fine! It still has that watercolour feel to it. You will also notice that for these blocks I decided that it would be better to have a thin white edge along the line, than to let the ink go over. It will be interesting to see how it looks once the lines are stitched!

Until this point all the inks were used straight out of the bottle. The colours for the leaves and flowers, though, are all mixed from two or more inks.

Here's my Day 2 test sheet:

After finishing all the grey parts, I started to mix the colours:

1. I began with drops of the pure, undiluted ink. This is the orange,
2. And this is the pure yellow,
3. And this is the Banana Cream that I used for the birdhouses.
4. The pure yellow is very harsh and a little greenish, and my goal was a softer, yellow orange. I started by mixing the pure yellow with a couple drops of pure orange. Nice colour!
5. But, when diluted, the orange almost vanished and it went back to bright yellow. You can see I tried various levels of orange and water to fine tune the mix.
6. I thought I had the colour right here, but it still turned out to be too saturated, and not as transparent as I wanted.
7. This is the final mix that I used on all the blocks. In the photo below you can see that the ink looked a lot oranger in the mixing cup than it did on the fabric.
8. Next up were the greens. Now that I knew how much the colour changed with the addition of water, I looked at that first. This one is the pure lime green ink on the right, and the diluted lime green on the left. You can also see that the lime ink in the bottle is really a mix of pigments, and that the blue pigments once again moved closer to the edges of the drops, leaving the yellow in the centre.
9. The emerald green ink was really surprising! On the left is the pure ink, and on the right is the diluted ink, which turned almost turquoise!
10. In the end I used three different greens for the quilt. This one is a diluted combination of the lime and emerald. It still felt a little artificial to me,
11. So I added a couple drops of the orange to brown it down. This is the mix I used for all the leaves.

There are also diluted lime, and a lemon-lime mix in some of the flower centres. Here's that yellow orange from #7:

I still have the centres of the yellow flowers, and the three other flowers to do, which will amount to four separate sessions with a dry in between each one. I'd like to do it in one day, but it may end up being two more. I'm past the "white knuckle" stage though, and it's starting to be fun! You can already see the blocks coming to life:

On to Day 3!

Ink Week, Part 1

I have not been able to find any online information about how to use Tsukineko inks in a painterly way, so I thought I'd go in depth on my learning experiences with them this week. You can learn from my mistakes as well as my successes!

I'm making Leanne Beasley's stitchery quilt, Down the the Garden. A year ago I chose Tamara Kate's Flight Patterns fabric collection for this project. Inspired by the watercolour effects in the fabric, I thought it would be nice to "watercolour" the stitchery designs before I stitch them. Rather than use real watercolour paint, I chose Tsukineko inks for the job, which are water-based, but can be heat set to become permanent and washable.

I've had the ink for 10 months now, but it was never the "right time" to get started. Finally, to get over the first hurdle, I dredged up my science lab experience from a long time ago, and set it up like an experiment. I wrote down the things I wanted to learn:

• Test ink colours - Banana Cream, Cool Gray, Cerulean Blue (not the colours in the photo above, those are for later)
• Compare brushes with Tsukineko Fantastix
• Try various wet/dry wash techniques
• Test drying, heat setting

Then I made a test sheet with the same fabric, Kona PFD, and permanent lines, Pigma Micron, that I will use for the quilt:

I ironed a piece of freezer paper to the back of the fabric, to stabilize it while I worked. I picked up this tip from Linda M. Poole's book, Painted Applique, and it worked great!

Then I assembled all my equipment. Tsukineko Fantastix are blank foam pens that you can load with your ink:

I also bought a cheap set of brushes, and single-use eyedroppers to transfer the ink from the bottle to the mixing cups. I'm calling this "Ink Week," by the way, because my sewing machine is packed away until I finish this phase of the project.

Here's how my experiment progressed:

1. I started with the undiluted blue ink, and a small brush. The Kona PFD fabric really sucks up the ink, and the more you hesitate, the wider the line.
2. I wetted the corner of the fabric with water, and used the brush to paint a line of pure ink, then pull it back into the water. The wash took time to really soak back through the fabric.
3. I decided the pure pigment was too dark for the effect I wanted to achieve, so I diluted the ink, and tried to repeat #2 along the edge of the first square. The diluted ink really soaks in fast! 
4. I still felt the ink was too dark, so I diluted it more and loaded it onto one of the Tsukineko Fantastix. They are much easier to control!  I found that if I drew about 1/8" away from the line, the ink soaked up to the line but not usually past it. It is easiest to just dip the Fantastix in your ink, and hold the tip up for a few seconds to let it soak in.
5. I used the same technique as #4 to colour around the birdhouse. The colour was flatter than I would have preferred, but I was ready to move on!
6. Same as the blue, I started with the Cool Gray diluted and loaded onto a Fantastix for the flat area of colour in the first circle.
7. For the second circle I soaked a little water into the centre first, and then filled in the edges with the same Fantastix as #6, and blended it back into the centre. Success! 
8. I tried the same blended technique in the roof, with moderate success. At this point I got out the blow dryer and dried all the blue and grey bits before I started with the yellow. Waiting for the paint to dry is worst part of a watercolour technique!
9. The yellow square was done the same way as #7, with a little water in the centre, diluted ink and a fresh Fantastix. There was no problem at all with the wet yellow ink picking up any of the dry blue ink.
10. I went ahead and finished the birdhouse with the yellow.

Feeling pretty confident, and with the inks all set up, I decided to forge ahead and colour the four birdhouse blocks for the real quilt.

I started with the yellow this time, dried it, and painted the grey. The real grey roofs were narrower than my test one, so I gave up on the wash after two of them, and just filled them in with solid grey. The block above has been heat set with the iron, and I found that the yellow and grey both faded away more than I wanted.

The blue, however, was a little too dark! I wasn't totally happy with the flat blue colour around the birdhouse in the test piece, so I loaded the edges of the fabric with plain water, and tried to use the Fantastix to blend the ink back. However, I ran out of the first batch of diluted ink, and you can see I made the second batch too dark.

For the third and fourth houses, I was getting impatient, and I decided to use a wider brush to ink around the edges of the fabric:

You can really see how the ink carries out to the edges of the brushstroke! Then I used a Fantastix with the same mix to fill in the gaps along the line. I like these ones the best -- the blotches look a little like clouds to me.

All of them have some bleeding of the blue over the line. My hope is that with the stitchery added, it will not be too noticeable. I made a start with the embroidery on the worst one first, just to see if I can live with it:

 

It certainly has the "loose" feeling of some watercolours! I bought enough fabric to redo everything if the experiment failed, but at this point I want to keep moving forward. The others will be better, and once it is part of the whole quilt, I think it will just be a minor quibble.

Next up, the watering cans, and all the larger flowers around the quilt. I think it will be a couple more days!

Click here for Part 2!

Jacks and Cats Progress

There's been progress on many fronts on my Jacks and Cats Halloween quilt. Last time I showed you all the felted wool cats glue basted and ready to sew. Now they are all sewn together and ready for the next step. Somehow the stitching makes them even cuter!

I've also prepped the pumpkins (Jacks). At the end I had an extra set of eyes! I guess the cyclops pumpkins threw off my count:

I remembered early on that the Roxanne Glue-Baste-It is not enough to hold everything together while I stitch, especially since I don't like to use too much. So you can see that I've added a few basting stitches as well. The pumpkin stems, vines and leaves can't be added until the faces are stitched onto the backgrounds.

Speaking of backgrounds (nice segue, eh?), I've sewn eight of the fifteen circles:

I really like those moody dark ones!

After the circles, the next layer is a wonky starburst, which I decided to make from my fall coloured homespuns. They are horrible to work with! Too loose and stretchy by half. But, they do look pretty nice:

I thought these stars would be the perfect opportunity to try out some running stitch applique:

I first saw this technique in Piece O'Cake's book, Applique with Attitude, and I've been waiting several years now to try it. It is stitched with #12 perle cotton, the edges are turned, and the inner corners all have a little crow's foot to hold them down. I love the way it looks! Plus, it feels surprisingly sturdy, and I don't think it will fray. I won't be cutting away the background, though.

However, I still need more practice with it. My stitches got smaller, tighter, and closer to the edge as I went around the star. It was not an improvement! I will probably have to back out some of the last stitches.

Here's an idea of how it will all go together:

It's a bit of a fibre lover's dream, this quilt! The mix of textures, colours and patterns is very satisfying.

In all, I think I am still less than half way, but I'll probably pack it up for a while now. I think I've had my fill of fall colours, because for the past couple of days I've had the most incredible craving for flowers!

Mod Pillows

Back in July I showed you the pile of offcuts that I had from the Scrappy Trips Around the World blocks that I used to make my Mod Trips quilt. Now that the flimsy is finished, I decided to make two 20" square pillow covers from the remaining strips. I had 37 pieced strips left, each with one red square and five light squares. For the first pillow I was able to make a scaled down version of the loops in my quilt:

But, there weren't enough red squares to make another loop, so for the second pillow I opted for an asymmetrical cross:

I think they both have that "mod" feel.

And now, with the pillow tops done too, I am really feeling like I have completed a milestone with this project. There are just a few squares left over for the scrap bin. Next month I hope to start the quilting, but for now I want to see how far I can get with Jacks and Cats before Halloween is upon us. Lots to do!

Mod Trips

Here, finally, is my finished flimsy, made from a variation on Bonnie Hunter's Scrappy Trips Around the World blocks. From the start I wanted to use the blocks in a graphic, modern way, that is hopefully different than anyone else! I used 25 of the 12" blocks, so it is 60" square. To see how I made the blocks, please click here.

The rounded rectangles remind me of the late 1960s "mod" style, so I'm calling it Mod Trips.

I made half the blocks on my old machine, and half of them on my new machine, so the seam allowances were not perfectly consistent. It was a bit of a challenge to get together (!), but on the whole it worked out better than I had any right to expect.

I'm considering some fairly intensive free motion quilting for this, but I think I'll do a practice run before I commit to that! In any case, it feels good to have it done, because it took way longer than expected. As usual!

1975 Quilt Book

"A modern young lady may find it more convenient to work on this antique lap frame...The charming Sunbonnet Girl quilt is in the process of being made as a keepsake with all the fabrics from one girl's wardrobe from age one to twenty-one."

Last weekend I was browsing through a used book store when I came across this amazing treasure, American Quilts and How to Make Them, by Carter Houck and Myron Miller (Charles Scribner's Sons, 1975). I have not been in a used book store in years, but I thought it might be fun to check it out. Apparently, I was lucky to find a quilt book at all, because they sell quickly, I'm told.

In any case, this one is both amusing and useful at the same time! In the amusing category, on page 17 there is a chapter titled "Equipment for Successful Quilting:"

"Fortunately, no one has been able to invent a lot of expensive electric equipment for quilting. There aren't even many tempting but useless gadgets on the market to lure the quilter and make her spend money. The largest item on her list is a quilting frame and that can be built at home quite simply."

Times have changed!

But, in the useful category, there are photos of lots of great historic quilts, and simple patterns for many of them.

Cockscomb quilt, 1864

I think the authors chose the quilts for the book with a very modern eye, because many of them have large, simple and graphic designs.

Robbing Peter to pay Paul

Would you guess that the above quilt, Robbing Peter to pay Paul, is pre-Civil War? You could easily find a similar design at Crate & Barrel or Pottery Barn today.

There are plenty of quilts with more detail as well, like this wonderful Family Album quilt:

Family Album Quilt, 1859

I've been looking for basic applique patterns recently, and this book is just right for my current skill level. The designs are simple but not juvenile:

And if the applique is not enough, there are many good pieced quilts as well. I love the setting for these Kansas Troubles blocks:

The blocks are here called "Indian Trails," which to me suggests a good colour scheme as well. I'd love to make it some day! The quilt is from Illinois in the early to mid 1800s, and the authors suggest that the threads have been saved and reused, as well as the fabrics!

Another quilt I'd like to make is this Sunburst quilt, which was started at the end of the 19th century by the mother of Pearl S. Buck:

Apparently the background is red! Pearl Buck's parents were missionaries to China, which may explain the inspiration for the colour. I love how it has elements of both a sunburst and a Dresden plate, as well as the large, graphic design. And plaids too! So, that's another one for my to-do list.

Finally, on the same page as the Pearl Buck quilt, there's another simpler sunburst quilt:

What do I like about this? The cat, of course! I think cats have been staking out quilts as long as there have been quilts and cats!