Tag Archives: Portrait Quilts

Thread Painted Features in Quilting Arts Magazine

The latest issue of Quilting Arts magazine in now available. It contains the next article in my series on thread-painted facial features. I believe this article is on twitching the mouth. Look for it on pg. 39. To purchase a copy follow this link: http://www.interweavestore.com/quilting-arts-june-july-2016 .

_QA81_Front_Cover_WEB

Below is a description provided by the publisher.  The bold type was added by me…and why not?

You’ll love this if:

  • You are looking for art quilt inspiration for this summer.
  • You want to learn new techniques, including embroidery, surface-design, and quilting motifs.
  • You want to be inspired and encouraged by fellow quilt and fiber artists.

Get ready for summer with art quilt inspiration and technique tutorials! Inside the pages of the June/July 2016 issue of Quilting Arts Magazine you’ll find all of this and so much more. Discover techniques to take your embroidery to the next level with free-stitched Embroideries by Laura Wasilowski. She shows you how to take small vignettes of everyday life and hand stitch without a patterm. Discover how to dye beautiful fabrics using ice with Susan Purney Mark. Beautifully dyed fabrics will come to life. You are the designer! Details are drilled in on with Applique Portraits with Lea McComas. This issue is packed full and it doesn’t stop here, travel “up up and away” with results from the “What’s Your Super Power?” Reader Challenge. Whether perfecting a technique or falling in love with a new project, this issue is a must have!

Order your copy of Quilting Arts Magazine June/July 2016 today and be inspired by more than 25 stunning art quilts.

Quilt artists featured in this issue:

  • Sandi Colwell
  • Julie B. Booth
  • Lea McComas
  • Susan Purney Mark and many more!
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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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Fused Applique Portrait Class

My Fused Applique Portrait class at CraftU begins March 7. There is still time to sign up. Here’s a link if you are interested:

Fused Raw-Edge Applique Portraits

https://www.craftonlineuniversity.com/courses/fused-raw-edge-applique-portraits

 Here are some samples of portraits done with this technique:

portrait-Jim Lea applique portrait

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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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Just the Right Face

Too much shadow.

Too much shadow.

The second figure has come together, but I don’t like the face.  Even though it is turned away from the viewer, it is still important to get it right.

 

 

 

 

 

 

Hair and face distinguished.

Hair and face distinguished.

First, I don’t like that the head is a solid black shape as it creates too much shadow.  Replacing part of that black shape with brown helps to distinguish the hair from the face.

 

 

 

 

 

 

 

reference tools

reference tools

With that done, my attention now turns to the line of the profile. To make it accurate I  refer back to a drawing I did for my book showing the correct placement of features.  I hang it next to my fused image. BONUS: the drawing happens to be almost the same size as face of my rider.  Using a ruler I hang in front of the fused face, I place pins to mark important benchmarks: top and bottom of the head, bridge of the nose, bottom of the nose.

 

 

 

 

From there, I make some nips and tucks and put the best face forward.

Now its right!

Now its right!

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The 2nd Horseman

The horse's patooty is coming off the edge.

The horse’s patooty is coming off the edge.

 

 

I’m back at work on the second panel of the 4 Horsemen.  The first dilemma is getting the scale correct. This figure, originally, behind the central figure, will now be in from of him, so he’s got to appear larger. It took some trial and error, but I finally got the size right.  I like an irregular edge, so I’m going to hang the horse’s patooty off the edge.

 

 

 

Continuous background

Continuous background

The key with this composition is to keep some key elements consistent across both panels.  In this case, it is the lines of the background.  As they continue from one panel to the other, they create a cohesive composition. I’m loving this.

 

 

 

 

 

 

Willis to the rescue.

Willis to the rescue.

 

I’m nervous about the pace of my work being slow, and am considering reducing the scope of this piece to 2, rather than 3 panels.  I really love the title and “The 2 Horsemen” doesn’t have the same appeal. So, when my parents stopped in to visit on their way to ski country,  I put my dad to work in the studio fixing the rollers on one of my chairs.

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