Sashiko Fan?...Not Yet!

Fan Size: 7"X7"
Ages ago, I purchased some chartreuse sashiko thread and sashiko needles for this activity but not the kit containing the coarsely woven fabric. I soon learned the virtues of a looser weave when using thick thread! My first fabric selection was a ridiculously tightly woven navy blue plain fabric- not at all possible to pierce with a sashiko needle and thread. Instead of getting my pliers to pull the stitches through I switched to a more loosely woven black fabric. 'Coarse' fabric is very suitable for this thicker thread and stitch size.
I tried the chenille needle as suggested in the C&G manual but preferred the sturdier and longer sashiko needle. I did a little bit of googling and found this interesting site on Japanes textiles, including sashiko. I was introduced to other aspects of Japanese needlework and textiles. 12" looms! http://www.harding-giannini.com/index.php
I found the loosely twisted sashiko thread left a lot of fibre fluffs on the black fabric. Pearl cotton would be cleaner. Would I use sashiko in future work? Maybe. The geometric designs are appealing. The stitching goes quite quickly. However, the look screams 'I am Japanese'.

The thread colour in the photo is quite insipid compared to the chartreuse reality. Photographing colours is a challenge lately. I should check my settings and see what is going on.

Experiments with Dyeing

Doreen and Joan (fellow Fabricators) came over on Tuesday for an experimental dye session.

Joan:

Joan tried out dye painting on a dry, soda ash treated, coarse canvas using a dye concentrate with sodium alginate (Kelgin) thickener. Her drawing of the Angkorwat ruins is wonderful.

Doreen:

Doreen painted dye on wet, soda ash treated cotton. Her soft colours blended beautifully. I was certain they would wash away when rinsed they were so subtle. I was shocked when almost no dye came out in the rinse or wash. She used 1 tbsp dye powder per 1/2 c. water, according to Betty Howe’s tried and true dye painting recipe.

Me:

I did a three way dye in 28 small plastic bags, a la Sophie in Australia. I was inspired by the gradation dye seen on Sophie’s flickr page http://www.flickr.com/photos/artstitches/1503393471/ . Her blog has dyeing information and photos http://essellesbabble.blogspot.com/

Fabric: The 28 chunks of fabric came from 7 cotton napkins and a table cloth from my great aunt’s cedar chest that I inherited in the 80’s. I’m not sure if you call the woven lilies of the valley damask or jacquard. But the pattern catches the light in a most wonderful way on each of the dyed pieces.
Dye Solution: 1 tsp dye powder/cup of water with no soda ash at this point. This is 6 times less dye powder than Doreen used! I used 3 tsp. total dye solution per bag (6 measures of ½ tsp.)

Dye Powder Used: ProChem.

Bottom left corner, Aqua #702,

Top left corner Plum #8153

Far right, ~60% Lemon Yellow #114:~ 40% Lime Green #730)
Method: One row at a time, I mixed the dye proportions according to Sophie’s photo, in little cups before adding to the bag. The fabric was soaked in soda ash before putting in the bag. I poured in more soda ash hoping for some pale colours. A little scrunching to minimize white patches finished the bagging procedure.
Labelling: Each bag had a number. I should have numbered each fabric chunk accordingly with permanent marker when it was dry to make sorting easier. Instead I attached fabric numbers with a safety pin.
The Results: Very interesting. Lots to observe and learn. Violet has red in it. The complement is green so I did get some lovely neutrals. The plum overpowered the aqua and green. Next time I will use ½ tsp of any colours that are strong or dark. The aqua has a weak voice. I should double the proportions of the shy dyes. The dyed fabric looks more like turquoise than the aqua on the dye chart. The plum is very similar to the chart colour.

Mola Bird is Appliqued

The Mola bird is fully emerged from a driftwood photo taken in Desolation Sound this summer. I loved the organic, flowing crack pattern. The bird was a bonus discovered on my computer screen much later.
The history of molas and the colourful outfits of the Kuna Indians (First Nations?) of the San Blas Islands off the coast of Panama really captured my interest. Molas (literally meaning blouse according to the web site below) had me tempted to use a flowery blouse as the base fabric. The primitive animal shapes in traditional molas made it easy for me to draw my crude bird shape. I think the combination of simple shape with complex geometrical patterns and colours is very exciting. The freedom of design and brilliant colours are a big lure for me. My bird mola will be trimmed to 13"X16", the approx. size of traditional molas. Molas often came in pairs, one for the front of the blouse and one for the back. http://www.galenfrysinger.com/mola_panama.htm
Stumbling Block- I wasn’t sure about the legs. The original legs were short and stubby. I decided to appliqué the body first and worry about the legs later. 'Later' came, as it always does and I just couldn't find legs that made me happy. I'm trying to accept the leg outcome by convincing myself that most birds have legs way to small for their bodies.
I really enjoyed all aspects of this exercise-except the legs.

Chenille Scarf

Yesterday’s Chenille Scarf workshop with Linda was excellent fun. In one day I made this brilliant scarf. I love it.

Ginkgos Circling

20"X20" click on the image for a closeup
The painted gingkos are finally Wunderundered and machine appliqued in place. I think they look like pollen grain under a microscope! I switched to this brown/purple batik instead of the royal blue. I really wanted to couch the glitzy Oliver Twist chartreuse yarn along the leaf edge. The blue would look too cheesy with glitzy trim. A little glitz goes a long way so the larger outcircle is stitched with 2 rayon threads, a bright yellow and lime. Shimmer without the glam. I also tried metallic thread with good stitching results. No stabilizer was needed to do this applique. Invisible thread was used in the bobbin and for couching.

Catch Up

I have a lot of C&G handwork samples on the go right now. Each day I think one will be finished and blog ready but it just isn't happening. I met my tutor, Catherine, for coffee in Vancouver while we were enroute to Parksville for Christmas. Her quilt, 'Sedna' was featured on the cover of Quilting Arts, Dec./Jan. We had a great chat, time flew, and I know I am in good hands.

I have been spending an inordinate amount of time on flickr. My resolution, as of Dec. 19th is to improve my picture taking skills. Step 1 is to actually take pictures rather than look at everyone else's. I try to post one a day on flickr. Each photo venture holds surprises! As with quilting I can see when something isn't working but I don't always see the problem or how to solve it. I have made lots of mental notes for future images. I just can't seem to remember to not shoot into the light! Step 2 will be to explore some camera settings.

I found this wonderful book at the second hand store in town $20!!). Gorgeous pictures and laden with information. 'Quilted Planet' by Celia Eddy, Octopus Publishing 2005.