Tag Archives: pictorial quilts

Let’s Make Faces

Look what I did!

I hope you are enjoying a beautiful summer: picnics, camping, swimming, baseball…

But, when you are ready to come in, cool off, and do something creative, I invite you to join me in a portrait quilt class or workshop.  There are spaces open in these locations:

CraftU Courses are once again open for registration: 

 August 13 – Brigham City Museum, Brigham City, Utah.

Jo's self portrait

Jo’s Self portrait

September 30-October 2, 2016 – Quilt & Fiber Arts Festival, LaConner Quilt & Textile Museum, LaConner, Washington

October 15-16, Jukebox Quilts Store, Fort Collins, Colorado

Portraits on Parade

Portraits on Parade

 

“Portrait Quilt Workshop” Sat-Sun, October 15-16, 2016. Call (970) 224-9975 for more information.

January 19-22, 2017, Road to California Quilter’s Conference, Ontario, California

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Puppy Love, Part 2

Oh joy!!! I’ve finished something in less than a month; 2 1/2 weeks actually.  It’s such a thrill to jump into a project and just breeze through to the end.  With this piece, I took a break from thread painting and just did some dense stitching.  The new challenge was to establish some designs that would fit with each element of the composition.

The blonde hair of the girl was easy.  I used various values of yellow threads in long, undulated lines of stitching.

PL hair

Next, similar, but shorter, wavy lines were put down with some variegated threads in a pattern that alluded to the hair of the dog.  Several times I had to stop and pet my dear Coco’s face in order to really understand the changing direction of her hair.  She didn’t mind too much.

PL dog

Stitching the face was a leap of faith.  It is so tricky to stitch the face!  If you try to recreate the actual contours, and the lines aren’t just right, it throws off the perceived shape and makes the face look distorted.  I decided to go in a completely new direction: loop-d-loops.  I covered the entire face in a small repetitive design that had nothing to do with its shape or contour.  I still varied the threads, letting the values do the work.  I’m really pleased with the results.

PL face

The background was the most troublesome decision, just as with choosing the fabric.  The print was complex and busy.  Afraid that it would become too strong and overpower other elements, I didn’t want to stitch the printed design.  I came up with a wandering ribbon design with a tiny meandering stitch to fill in the spaces.  I feel like the 2 patterns of the fabric and stitching sort of neutralize each other and take away their power to dominate.

PL background

Finally, here’s the finished piece.Puppy Love

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Puppy Love, Part 1

Maya & Coco

Maya’s selfie

This week I’ve jumped back into my art with gusto.  I’m tired of being on hold. I need to be creative!!  With a 4-day weekend and plans to pack and move postponed (again!) it was time to make up for lost time.

4" x 6" thread painting.

4″ x 6″ thread painting.

 

This past week has been devoted to making a piece titled “Puppy Love”.  I’ve done smaller versions of this piece in the past for small art auction donation pieces, but this one is big and bold.

It started with a selfie taken by my step-daughter, Maya with our little dachshund, Coco.  While previous versions were printed on fabric and thread-painted, this one is raw-edge fused appliqué and 30″ x 40″.

My color scheme is an analogous run of yellow-orange, orange, red, red-violet.  This kind of scheme tends to be calm and mellow, so, to punch it up, I threw in some blue-green.color scheme

A couple of marathon work days, and the piece was nearly completed.  Selecting the background fabric had me stalled for day as I just couldn’t decide.  I took audition photos with my phone and toggled back and forth between the shots until I was able to make a decision.

Background option 1

Background option 1

Background option 2

Background option 2

 

 

Now, it’s on to the stitching.  I’m going to try something new and will share that with you next week. Check back in next week.

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Is Your Face in the Right Place?

I’ve just finished a new piece titled “Simple Pleasures”.  It features a young boy named Indigo who is celebrating his 6th birthday and is thrilled with his new plastic horse.  How wonderful to find such pleasure in something that has no bells, whistles, screens, login, or even batteries.

In this weeks video, I show you how to check the size, location, and dimensions of facial features so that the face looks realistic and well proportioned.

Golden Mean Calipers Pt 3: Facial Features

This piece was a chance for me to try a bolder color scheme.  I like the energy and vibrancy of it. Below are process photos to show how the piece came together.

Face and Hands

Face and Hands

Shirt and shorts

Shirt and shorts

Horse in Hands

Horse in Hands

Thread-painted face

Thread-painted face

Finished piece

Finished piece

 

 

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Study with Me at Craft U

I have 2 courses that are now open for enrollment at CraftOnlineUniversity.com OR CraftU,

Both of my classes are now open for enrollment.

Both of my classes are now open for enrollment.

for short.  Here are links of you are interested:

Fused Raw-Edge Applique Portraits  is a 6-week course that begins March 7th, 2016.

AND

Thread Painted Portraits is an 8-week course that will begin April 18, 2016

Interested in BOTH courses?? Enter the coupon code THANKS25 when you purchase Thread-Painted Portraits and you will get $25 off the cost of that course.

 

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Golden Mean Calipers Part 2: Crop a Picture

This is my second video on how to use the Golden Mean Calipers.  This week I show you how use them to crop a photo around a focal point so that the outer dimensions are harmonious and the subjects in the composition are well placed. These calipers are available in my web store.  If you find these videos interesting or helpful, subscribe so that you get notified whenever I post a new one.  I’m trying to do this once a week until I run out of things to say—like that could ever happen.

Calipers video part 2

calipers 2

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Using the Golden Mean Calipers


Golden Mean Calipers

Today, I want to share with you a tool that I’ve discovered called the Golden Mean Calipers..  I’ve also seen them labeled “Fibonacci Gauge.” can be a useful design tool in your artistic process. There are a variety of ways this particular tool can be used. Let me illustrate a few.

Finding the Sweet Spot Within Your Composition

A focal point is used to grab the viewer’s eye and engage the viewer in your artwork. Generally, it is best to avoid taking the viewer’s eye to the center, for when it arrives there, it will tend to stop and rest. Placing key elements off center will tend to prolong the viewer’s engagement with the composition. Use the calipers as shown below to determine the best placement of the focal point and other key elements of a composition. In portraits, eyes and mouths are important features for focal points.

Use calipers for cropping the sides of an image.

Use calipers for cropping the sides of an image.

focal point 1

Lay the calipers over a photo print, to determine the best way to crop it.

Focal Point Landscape

Use the calipers to determine the placement of a design element within a larger panel.

Taking Elements Off the Edge

Avoiding the middle also applies when taking lines or elements off the edge of a composition. See how the calipers can be used to determine the most visually pleasing locations for the placement of lines that will carry the viewer’s eye to the edge of a composition.edge 2edge 1

edge 3

Creating Borders with Harmony

This tool is also useful when adding borders to a traditional block quilt. One method is to start with the blocks themselves. Place the outer points of the calipers at the edges of the blocks. This will give you two new measurements that will be in harmony with the blocks. Use the larger measurement for the total width of the border. This area can further be divided by placing the outer points of the calipers on the edges of the border area. This will indicate pleasing widths for and inner and outer border. All measurements indicate finished sizes. Don’t forget to add seam allowances.

Measure the width of your block.

Measure the width of your block.

Create a single border matching the wider measurement of the calipers.

Create a single border matching the wider measurement of the calipers.

Create harmonious smaller borders.

Create harmonious smaller borders.

Divide the border area using the calipers.

Divide the border area using the calipers.

Sometimes, a specific finished size is necessary and this isn’t achieved in the process above. In this case, determine the desired total width of your outer borders, open the calipers to this desired width and then measure the distance between the points to determine the finished widths of an inner border and outer border.

Perfect Facial Proportions.

The Golden Ratio occurs naturally within faces and calipers are useful when creating portrait works, either when drawing the face, or problem solving when a face doesn’t look quite right. See the photos below for ways to check the proportions of the face, and placement of the features.

Placement of mouth between nose and chin

Placement of mouth between nose and chin

face 1

Bring of the nose in relation to forehead and chin.

Placement of eyes

Placement of eyes

If you are interested in learning more about facial proportions and portrait quilting, check out my book, Thread-Painted Portraits: Turn Your Photos into Fiber Art 

AND look for videos on my YouTube Channel Lea McComas Fiber Art.

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Value Finding Tools

I’m trying something new in my blog this week: a video.  This is my first attempt, and let’s just say, it was a learning process.  I’m thankful that I get to spend a large part of my day with teenagers who know all about this and are happy to advise their teacher.

Follow this link to learn about the tools I use to select fabrics.    Value Finding Tools Video

These tools are available in my web store if you want a set of your own.

Value Finding Tool Kit

Value Finding Tool Kit

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Travel is Good for Art

I’m pulling out the suitcase and getting ready for travel in the coming days. Please come and say “Hello.”

  • Next weekend, at the opening reception for “Interpretations: Celebrating 30 Years” at the Visions Art Museum in San Diego.
  • Oct. 28-Nov. 1 in Houston at the International Quilt Festival. Look for me in booth #2014. I’ll be sharing space with Mary Vaneecke of El Sol Quilting Studio.

jenny-leaI just spent two days in a pictorial quilt workshop. This time, I’m a student, not the teacher. Jenny Bowker has made her way from Australia to Colorado and shared her techniques and lots of hilarious stories from her travels.

Usually, I take workshops that cover techniques very different from my own and I do it to get out of my comfort zone. I have to say it was very rewarding to learn from someone who also makes realistic representational work, similar to my own.  Check out Jenny’s work.

Her technique for expanding the pictorial panel with traditional blocks is something I just might use in the near future. Her applique technique to make blocks that simulate ceramic tiles similar to those I loved in Turkey is also on my “Must Do” list.

In preparing for the workshop, I selected a photo of Palmyra, Syria that I took back in the 90’s, when I was teaching in Turkey. Coincidentally, she once lived in Syria and she recognized my photo right away. I was a nice connection. Also, for some time now, I’ve wanted to incorporate some of the designs from Turkish art in my quilts, and now I have some fresh ideas for how to do that.  Here is the panel that I completed of Palmyra. Check back in a few months to see what becomes of it.

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“No” to the Nose

original nose

Original photo

When I thread paint, I rely on the thread to do the bulk of the work.  My technique allows me to blend colors and create subtle shading and contours, as if I were working with paint. In my process I find that there is an OTZ (Optimum Thread Zone).  Stitching below the zone creates what I consider dense quilting, and stitching above the zone overloads the fabric and causes it to expand and buckle.

With this in mind, I consider the facelift that is needed by my horse. As mentioned last week, the shape of the nose needs some adjusting.  However, having applied heavy stitching to the face already, there is a limited amount of thread that can be added without exceeding the OTZ. This means I need to get it right, right away.

In the original photo, the horse is moving his head as the photo is snapped, so it is blurred and doesn’t provide the details that I need.  It is off to the internet to find images of horse heads that face the right direction, at a similar angle, and in the right light.  I also look to reference books of paintings done by several Western artists.

sketch of nose on plastic sheet

sketch of nose on plastic sheet

 

 

Next, I place a clear plastic sheet over the face of my horse and outline its shape and key lines with a red marker.  That sheet is then set on a white background where  black lines  indicate where stitching is to be added or changed.  In this way, I can audition the additional stitching, erase, and redo as needed until it’s right.

 

 

 

 

 

Back at the longarm frame, I keep this plastic sheet handy and begin the facelift.  In addition to creating a more boxy snout, highlights were added around the nostril and above the eye to give them more depth.

Facelift results

Facelift results

First Face

First Face

 

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