A short while ago, I was able to share the finished results of my most recent “big” (36 x 48 inches) quilt, a portrait of my son Joshua.  I love seeing quilts come to life, and watch the creation process when other folks make things, so I thought I’d share how this one came together.

First, several months before I finally got to cut fabric, I took photos of Joshua playing guitar (after asking nicely for a few weeks, I finally pinned him down one evening).  Sitting on the floor to get a not-the-usual angle, I took about 60 or 70 snapshots, many of which I was able to rule out immediately (mostly due to closed eyes, mouth hanging open, blurry fingers).  I narrowed it down to three:  one for the position of his head (mouth closed, eyes open–on the right, below), another for the position of his hands and body (on the left), and a third for some extra details on the room.

Then, I fiddled around in Photoshop to come up with a line drawing.

I sized this so that it would fit four times on a piece of paper and did what is called a value study.  I learned about this from an online educational resource (pay to play–thanks Deirdre for sharing this one with me!), www.artworkshops.tv , an online tv/classroom site.  I watched the video by Polly Hammett on Design with the Figure.  One of the things she showed was doing quick thumbnails (quickie outlines) of her intended composition, then using ONLY black and white, blocking out what would be light and what would be dark.  By using only black and white, you get immediate, stark visuals on the shapes and negative spaces (the shapes between), which gives you an idea how the composition will work.

This exercise was INVALUABLE!   Since I never went to art school (last class was my one and only year in art in high school), I’d never heard of this, though it is probably a basic! Here is a snapshot of the value sketches I did, except I “cheated” took a shortcut by using the Photoshop Elements outline.  The two on the far right are the “blanks.”  The one I ended up using is the bottom row, third over:  Joshua’s face and arms are light, the background is deep dark, the guitar medium in value (again, I fudged a bit on the black-white only and expanded it to include a gray).  PS–this one photo is clickable for a larger view:

This helped me decide on my colors.  I knew that I wanted Joshua to be the focal point, with his guitar as the secondary focal point.  That meant if Joshua’s skin was to be light, the wall needed to be dark, not the celery green it really is.  If you look again at the value studies, you can see how much more his face pops when it is against something super dark, not just “gray” or medium value.  I also darkened up the dresser, bedding, and eliminated details (posters, books on dresser, clutter!) to make my life easier and to make the composition more focused.

Next, I used my laptop, hooked up to my digital projector, to project the main photo onto the design wall, where I had taped up paper (medical exam table paper, long, cheap, taped together–bought a roll from my doctor for $5 and it is 3+ years old and still plenty left) and traced out the outlines.  Here’s a photo of the drawing on the design wall with preliminary fabric ideas pinned to it:

Next, I’ll show how and where I chose to begin…the hardest part first!

PS:  Norma asked what process I used in Photoshop Elements.  I’ve tried to duplicate it and I THINK this is what I did:

I think I converted it to grayscale first; Go to Image, then Mode, then click on Grayscale.

Then,  under Filters/Sketch/Stamp, click on stamp and adjust the light/dark slider to about 2… I think.

I just tried to re-do this, and that is as close as I can get.  Shoulda taken notes!

In my last post, I shared the carving of the 12 x 12 inch sunflower block, and a while ago the first attempt to print with the owl block (about 4×6 inches).  Well, the Speedball water-based printing ink arrived.  I only ordered one tube, copper metallic, to test it.  Shoulda ordered more!  It prints MUCH sharper, cleaner prints–I’ll put side by side of the owl in textile paint and ink below.   But first…the sunflower…..Oooooh la la!

Here are the two prints I’ve made so far:

The one on the left is the first attempt.  Since the copper color of the ink is about the same color as the linoleum, it is almost impossible to tell visually by color if you have enough ink.  Clearly not.  The second print on the right is much better.  Oddly, thought the ink appears metallic in the tube, it doesn’t look metallic on the cloth.  Still, I really like it.

I ADORE this block. I was thinking of cutting it apart into three sections:  the center, the petals and the outside.  But what if I mess it up?  So I think I’ll keep this one as is, then carve another center and another ring of petals separately, so that I can print the block in different colors for each segment.  My mind is already racing on how I can use this to create new cloth, made a t-shirt, and basically have a ball. Here are closeups, first of the too-pale version.

This one will make a good candidate for overprinting with a different stamp in darker ink.  The darker print is much better, but I have to work on getting an unwrinkled “underneath”…I protected my padded surface with a plastic garbage bag that has fold marks in it, and they showwed up in the print:

In my earlier post about the owl, I mentioned that I didn’t care for the heaviness of the lines to the owl’s left:

So I removed some of the lines and tried printing again.  On this one also I had the same issue with guessing how much was enough ink, the first one being too pale, the second and third better:

Here’s a closer view of one of the better prints:

There is a learning curve, but I am moving along it, and this is GOOD.  And I can see having a lot of fun with this technique.

While watching the Winter Olympics one nippy Sunday, I decided to work on my lino-cutting class.  Our lesson was textures.  I thought and thought and didn’t want to do something like the teacher.  A friend of my older son LOVES sunflowers, so I thought hmmm….   love the seed-pod texture

of the center, the silky smoothness of the petals, so I decided to do a jumbo life-sized sunflower.  The linoleum square is 12 x 12 inches; i think the center measures about 6 inches or so across.  In the photo above you can see my pencil marks and the beginnings of cutting away the spaces around the seeds/circles.  I actually like this amorphous, amoeba-like shape so much I may make a few printing blocks that are similar to this one…like water seeping through the mud finding the path of least resistance.

And an angled view–by the way, I used a medium or small “U” shaped gouge for this part:

You can see in this photo the size of the block, and that I used some of my plastic quilting circle templates to mark the perimeters for the seeds and petals.

In this shot, I’ve begun carving the petals using a medium “V” shaped gouge for the outside, and a small “V” for the inner lines:

And again, an angled view (somehow the lighting shows up the carved bits better)–I just LOVE that center!:

In the next photo, you can see the carving jig I made.  Woodblock carvers use something similar, with a lip on the close-to-the-body edge so it snugs against the table.  My jig is larger (to accommodate the large lino blocks) and lacks the lip… I find I like to angle the block, so wanted to be able to turn the jig.  Since doing this one, tho, I discovered I can take an extra strip of the molding I used to make the edge/frame and put it at an angle on the inside, so I may add a lip after all.  Having cut myself on my first effort, I now have a wary respect for how sharp the carving tools are! The safety from using a well-made, well-designed jig are well worth the minimal cost (about $10 for the supplies, tho still need to buy some felt to glue to the bottom).

In the photo above, you can also see that I have begun carving away the outside in a flame-like pattern.  By this time I’d been cutting for several hours, and my hands began to ache, so I took a break and finished it the next day (which was also Spring Break and more of the Olympics television marathon). Finally, carving DONE!

And the angle view:

Can you tell I’m having fun?  Then I had to wait for an order with some Speedball ink to arrive.  My textile paints aren’t working as I would like  for the printing, so we’ll see if the Speedball water-soluble ink works any better.  It can apparently be heat-set and made permanent….. time for more testing?

If you think you’d be interested in taking this class online,  contact Dijanne Cevaal who is (I mentioned this earlier, forgive me for repeating it here) originally from the Netherlands, immigrated to Australia and lived there most of her adult life, travelled to the middle East and is currently living, at least for a while, back in Europe.  Consequently, we have a glorious around-the-world group in our class.  You can contact her by using the link in the sidebar (to the left) which will take you to her blog.

Heads up!  Dijanne is beginning a new lino-cutting class on March 8th! To sign up, visit her blog and contact her by clicking here.

I’ve been trying to work on my online lino-cutting class with Dijanne Cevaal during the Olympics and breaks from working on that quilt I can’t tell you about yet.  I’ve been having FUN! One of the exercises was to cut a monogram / initial.   As part of that, I decided to print up some stamps I had carved in the past and share with the class, so thought I’d share them here, too.  The older stamps are all done in either Speedy-Cut (a somewhat soft, rubbery material, or a generic version of same), an art eraser (the grass)  or the cuts-like-a-hot-knife-in-butter MasterCarve (the bunny and leaf in the top row are on opposite sides of the same block).  The sheet below is an 8 1/2 by 11 inch (about A4 size paper) piece of paper.  The rose block is about 3 1/2 inches square, the bunny maybe 1 1/4 inches across (printed on point).

Here are the carvings for class (the “S”) and an older tree of life design printed onto paper with textile paint (brown) or stamp pad ink (black):

I also did an owl in Dick Blick (online purveyor of art supplies) Wonder Cut, a type of linoleum.  It is about 1/4″ thick, and feels like tightly compressed sawdust.  It is harder to cut than the rubbery stuff, but easier than the Golden cut or battleship gray linoleum.  Since I have (I think) incipient arthritis and other issues with my hands, I used that first:

I didn’t really like the three echo lines to the left of the owl, so I subsequently removed them.  I’ll share prints made with the revised version a few blogposts down the line…..The lino cut is at the bottom, the paint on paper prints at the top, and paint on cloth to the right (along with a few attempts with the “S”).  I need to get a better print on cloth… I think I figured out the trick.  It is called buy MORE paint supplies, the kind suitable for lino-printing! More on that later, too….. you get the same exploring and learning curve I had!

Last, a stamp I made a while ago to use on labels.  It is large… 5 1/5 by 8 inches (half a sheet of paper).   I traced my hand then drew inside it, then carved the whole shebang into the soft-cut rubber.  I had thought I would need to make this into a Thermofax screen for screenprinting, as I was not having luck getting such a large surface colored up with textile paint and printed before the paint began to dry.  However, with my buy-more-stuff discovery, maybe I don’t.  Hmmm….I’ll have to go try the new stuff with this stamp….hmmmm……

Anyway, hope you like my total collection of stamps, which will be growing!  I like the lino-cutting!

Using the leaf/bud prints from my lino-cutting class with Dijanne Cevaal (link in Reading on left sidebar), I decided to make two quick art quilts (instead of just a small postcard) as part of my donation to the FiberArt For A Cause (FFAC) fundraiser to benefit the American Cancer Society.

I offered Virginia the choice of pieces (they are each about 11 inches wide by 17 1/4 inches long), and she chose the blue-green one on the left for the auction.  The multicolored one, on the right, will be for sale here on my website after the auction.

The blue-green print is the “positive” image which I shared in this post.  I fused the print to some batik, then quilted the daylights out of it.  Here is the quilt:

and a close up of the center panel:

The multicolored quilt is similar, but features the “negative” panel where the main motifs (not the background) are cut away.  I was surprised at how much I liked this one, since usually I am enchanted by the lines of the cuts in woodcuts and lino-cuts.

and a close up of the center panel of this quilt:

I don’t know about you, but I’m having a BLAST in this class, and hope that my results will lead to a generous donation to the American Cancer Society.  Thanks in advance to all for browsing the FFAC site/auction, and to those who have helped not just this year but in past years, too, to help combat cancer.