A stellar display

I mentioned a while ago that I had joined the group 'Around the World in 20 Quilts' [or ATWI20Q' for short]. We have been working on the theme 'stellar' and all the finished A4 quiltlets were revealed on Nov 30th. There is a link to the group blog in the sidebar [under all the pictures of Babybel] if you want lots of ideas and lots of inspiration.

I have finished [?] the second not-landscape. It has changed a bit since you last saw it - the brown has gone. I think the kantha-ish quilting works and I may add some to the first not-landscape. You will notice that some bead and French knot encrustation did creep in after all...

I spent the weekend working on an altered book for Maggie Grey's online class. This used to be a copy of an Enid Blyton story - I decided it was worthy of altering when I realised that the girls in the story had a governess and the threshing machine was run by a traction engine. As it wasn't a first edition I decided it was probably of limited interest to 21st century children and proceeded to attack it.

Here it is drying on the radiator. Some pages were removed, then I glued a variety of papers [newspaper, paper towels, tissue, pages from a completed crossword book and an old phone book, and paper doyleys from the pound shop] to some of the remaining ones. All were brushed with gesso and sprayed with black and grey Brusho. I think it looks wonderfully tatty. When it is dry I will have to decide what else to do to it. At the moment, still thinking about mark making, I am pondering on runes ...

Having taken the plunge with altering a book - I am tempted to do it again. I think, apart from my reluctance to deface books, i have always been put off by the style of the altered books I have seen. Maggie's, of course, are different, and much more to my taste.

The quilt is temporarily on hold as Wensleydale is administrating on the dining room table, which is where I layer my quilts. He has promised it will be clear by tomorrow, so I can get the three layers assembled and pinned - I hope to tackle the quilting on Thursday.

On a completely different topic - as this blog has been a bit doggy recently - here is Quality Control testing the printer. Notice that blank sheet of paper emerging? That is what happens if you tread on the buttons on your way up. She is looking alert because she has just heard the fridge door opening two rooms away ...

I've been experimenting again,

trying techniques from Maggie Grey's 'From Image to Stitch'. I have decided that one of the reasons I have felt unsettled is that I want to play but also feel I need to work in my compost heap - er 'studio journal' - for the class on Friday. Solution? Experiment - but use themes from the journal. Obvious really, isn't it?


I bought some Inkaid at the Knitting and Stitching Show, so, at last, I got round to using it. [We won't mention the bottle of Bubble Jet Set I bought - er - several years ago and have only opened once. That is 'opened'. Not 'used'.]

Now you may have noticed that occasionally I use black in my work. [I wear it too, although I shouldn't, without a tastefully arranged pink or apricot scarf. Unfortunately I don't do tastefully arranged scarves. Chic I ain't.]



So I was keen to try out printing on black paper, as suggested by Ms Grey. The Inkaid bottle suggests two coats but my Yorkshire genes [I tend to keep quiet about those, but I do have some] suggested I try just one. So does Maggie, but as you will see I am very good at skim reading and then working on the basis of what I thought I read ...


I learned that:

• Inkaid is white. It shows on black paper if not covered with print. Of course Maggie points this out but that only registered with me after I had printed.


• The brush marks show.

A bit of judicious tearing removed the white bits from this one, which was one of these. I backed it with black felt and practiced FME on. Not the greatest piece of work in the world, but as Wensleydale pointed out, you can't get samples wrong.


It has just occurred to me to wonder whether it would have looked any different if I had printed on white paper. Maybe I'd better experiment some more!


I also tried printing on brown paper [no Inkaid]. I learned from this:

• Print first, scrumple second. Trust me, the other way round is not a good idea. This piece is this size because that is how far it got before the printer threw its hands up in horror and refused to go any further.













• Brown paper is dark. So if you print a dark picture on it it will get darker. Which is what happened to this guy. So I made it worse by ironing shreds of black FuseFX over him.

A scan in inverted colours looks quite spooky.


I have also returned to Dunnwewold at al's 'Finding your Own Visual Language' which I enthused about last year, worked partly through and then lost interest in. I think it was being asked - again - to draw lines expressing emotions. [I know I could skip that bit but I am a linear thinker and I have difficulty giving myself permission to do things like that.]


Looking at the book again prompted me to try some of the ideas with pots, starting with chopping them up. I do like the starkness of black and white.