My latest wool applique, Inflorescence, is finished!
These piece is, of course, influenced by the flowers found in gardens and hedgerows at this time of year. It started life as a sketch ...
These piece is, of course, influenced by the flowers found in gardens and hedgerows at this time of year. It started life as a sketch ...
... which became a cut paper collage ...
... and a digital artwork ...
... and finally a wool fabric applique. This is my favourite part of the process, when the fabrics and threads come off the shelves and are auditioned to see which will best suit inclusion in the piece. Two pieces of black, hand-dyed wool blanket were joined to form the backing. The flowers and abstract elements were cut from a variety of fulled wool fabrics, including blanket, upcycled clothing, auction finds, some tiny pieces of Donegal Tweed that I had snapped up at Woolfest show. I also included a couple of pieces of synthetic, shiny fabrics to add a contrast to the dull, nubby wools. The dense fabrics were used 'as is', those that were more loosely woven had a thin line of fabric glue applied around the outer edge to minimise fraying. Thin sweater fabrics were used double, to give them more body.
Some elements were cut using templates taken from my collage, other were free cut using a large pair of scissors. The individual blooms were completed and arranged on the backing before being pinned in position. I used a variety of threads, including two that I had just bought at an exhibition, hand dyed by Fiona Moir. Others were cotton embroidery threads from my stash, Aurifil wool/acrylic thread, or Perle cotton threads, which have a nice sheen contrasting well against the duller wool.
At this stage, I decided to give the piece a variegated edging that echoed the shape of the nearest flowers, with a flat top edge where the wool blanket was rolled to the reverse to create a hanging sleeve for a length of wood dowel. I used blanket stitch, French knots and a short straight stitch or whip stitch to attach the various elements, and around the outer edge.
A decision to add more of the abstract dots was taken at this stage: first some larger ones along the top edge, then a flurry of small ones dotted in any gaps that remained. The final touches: a label sewn to the reverse, and a wooden lath cut to size to hang the piece.
Some elements were cut using templates taken from my collage, other were free cut using a large pair of scissors. The individual blooms were completed and arranged on the backing before being pinned in position. I used a variety of threads, including two that I had just bought at an exhibition, hand dyed by Fiona Moir. Others were cotton embroidery threads from my stash, Aurifil wool/acrylic thread, or Perle cotton threads, which have a nice sheen contrasting well against the duller wool.
At this stage, I decided to give the piece a variegated edging that echoed the shape of the nearest flowers, with a flat top edge where the wool blanket was rolled to the reverse to create a hanging sleeve for a length of wood dowel. I used blanket stitch, French knots and a short straight stitch or whip stitch to attach the various elements, and around the outer edge.
A decision to add more of the abstract dots was taken at this stage: first some larger ones along the top edge, then a flurry of small ones dotted in any gaps that remained. The final touches: a label sewn to the reverse, and a wooden lath cut to size to hang the piece.
RSS Feed