Blue Agate

At last, got to the microphotography.
Sometime back I did some design work based on images of Agates like this. So when the challenge came up, I thought the concept would work here.

This time I used a Blue Agate we have and worked it up as if there had been microphotography work done on it.

At first I layered torn tissue adhering the layers with acrylic wax. Then I fused it to silk organza with Misty Fuse and did the thread work. I touched it up with paint stick and then painted the rim of the agate slice using craft acrylic paints. The whole piece was then fused to white silk dupion and layered and quilted to blend it in on the edges and so on.

The piece is approx. 13" x 14".

Challenge #39: Tequila Sunrise

I was intrigued by a set of photos of cocktails under the microscope and decided to try a "Tequila Sunrise" quilt, thinking it would be fun art for our condo in Mexico, and I just liked the colors and shapes I saw in the photo from the linked website, Molecular Expressions: The Cocktail Collection.

I used ProChemical H Fiber Reactive dyes to paint fabric for the background. It was my first time dye-painting at home since completing a Sue Benner workshop in October. I used fabric that was soda-soaked in October, knowing it might not be fresh enough. I mixed the yellows and magenta with more print paste than I should have, so they came out less intense than I'd wished. Sorry, I didn't take a photo at that step. This is all about learning, so that's OK!

I used acrylic paints to brighten up the background yellows and oranges, but I didn't have fuschia, and didn't have enough time to mix the "just right" colors. Compromise, limits, affect our art! I made stamps by cutting out shapes from rubber floor tiles, painted and stamped on the blue "V" shapes. I set the photo aside and began working more from an inspiration rather than trying to make a realistic image of what the photo showed.

I tried cropping various ways to improve the composition, considered how to create a focal point with stitching and/or embellishments, and wondered how to move the eye around without having the arrowheads lead it off the page. I also wondered about borders. I then selected a special Carol Taylor yarn for embellishing.

At this point, I stopped and meditated on what to do and, boy, did I get some surprising spiritual input! It made the rest of the work really teach me and allow me to purge some negative stuff and get more optimistic! I quilted it over the Christmas holidays, and then added a little sparkly teal paint to the three V's that I emphasized, trying to create a focal point. I don't know if they're still a focal point after the couching.

I should have photographed what it looked like on January 3rd with all the quilting done but no embellishments on it. I had a several ideas of how to place that fancy yarn. I consulted with my artist-daughter and my husband for ideas, but none struck me as "right." I'm getting ready to leave on a trip, so I was cramming in lots of other work and had little time to give this project . . . another insight goes with that! So, I printed out five copies of a photo of the painted fabric laid onto the border fabric and started playing with multi-colored cording to test how it might be laid on top. I used the cording because the photocopies were a smaller scale, and the cording was thinner than the yarn. Of the five designs, the one I liked best happened when my husband stood up and dropped some cording onto a photocopy from arm's height. It puddled onto the paper in an interesting mess, very organic. Aha! I then did something similar onto the quilt itself, liked what I saw, and used masking tape to secure the cording into its random, organic, landing places. And I decided to use the cording instead of the beautiful yarn, because the yellow did something important. It looks more biological to me now.

It was a challenge to couch on the cording with it taped in place, or to follow marked lines when I gave up on the masking tape, so this is a version that evolved from my first "dropped design."

Not exactly a FAST challenge quilt but I'm glad it's done and I learned a lot.

Comments welcome, as always!
Happy New Year,
Chris

www.ReapAsYouSew.com

Diatom and cells

True to form, I was a little late getting started on this, although it is a subject I was interested in pursuing prior to getting the challenge. The odd thing is that over two years ago, I had the idea and started collecting images to do a series on wood....but I didn't do it for this challenge.
This piece is based on a photomicrograph of a fossil marine diatom Actinoptychus heliopelta found in diatomaceous earth, Dunkirk, Maryland, by Stephen S. Nagy.". I intend to put some beads on the center of it and also on the orange bits which go into the center. It measures about 17" in diameter.
You can see Dr. Nagy's original image here
I have never done a circular (or roughly circular) piece before. I also did a lot of multiple layer machine quilting in order to make the veining in the middle (the part that looks roughly like aligator skin). While I have had Shiva paintstiks for about 4 years, I've never used them until now.
I must admit, the quilting, and the fact that I fused all those little yellow triangles down, then satin stitched around each and every one, as well as satin stitched the area on the inside of the tooth, took me far longer than I had ever anticipated.
While waiting for the Shiva to dry, I quickly did this piece since the first one was being a "slow Friday Fabric Challenge". This is a rendition of a tight Cellular Junction. A cellular junction is the structure in a multi-celled organism.
I saw the matte acrylic beads and wanted to use them. The body of the piece is made from two different colors of polar fleece with a "pillow" in between to give it depth.

Because I didn't think it looked finished, I added this fringe on the bottom. The piece measures 10" x 14 1/2"

Lisa Broberg Quintana (aka Michigoose)

Microscopic Leaf by Cynthia Ann Morgan

Here's my challenge #39 piece. It's inspired by a 500 x microscopic view of a cross section of a leaf showing all the cell structure. Made with hand dyed fabrics with painted highlights after it was quilted. Comments welcome!

Cynthia

Floating Chromozomes

Sponge painted paper under black chiffon form the sea for my Floating Chromozomes. Yarn is couched over painted fabric on one siide and free-otion quilting over dark green satin on the other side. Yarn is couched onto the surface and a fiber wrapped plastic straw is added to the free-motion surface. My third challenge and I am learning so much from my endeavors and those of my quilting peers. Jane Stricker

Mermaid Study - 38

I believe mermaids are related to dolphins and whales. They do not have scales, but thick skin. If you look closely, this mermaid is working hard to get off the beach. She was visiting land for the night, but obviously didn't make it back before she changed, once again, from a human to a sea mammal. As the sun is only a thread on the horizon, no shadows exist. It is that special time between moon glow and sun shine. Although the mermaid seems in peril, the tide is rising. Do not fear, she will be OK.

I used commercial fabrics + paint. The mermaid is stuffed then appliqued onto the quilt. This is a first for me. I added the mermaid before quilting; wish I had done it after. It would have made the quilting a lot easier. The tail is fused velvet and is only attached at the base. The fins are totally free. Her hair is a bit of trim that seemed appropriate. The 'stone fabric' is enhanced with heavy dark green stitching as if covered with sea moss.

As simple as it now looks, it was technically very difficult for me. I call it a study, because at first I planned on a much larger one. That would probably be done next summer. Instead I decided to do something that I could actually finish. This is 14.75" x 16.75".

Blood Clot

I enjoyed making this piece once I found a royalty free photo of a blood clot online that I could use for my inspiration. I certainly never imagined that a blood clot would be this interesting! After discharging the background fabric, I found a coral/pink solid that I thought would do for the blood cells. I painted dark pink shadows and white highlights, fused my shapes and added them to the background. I liked well enough the bright coral against the mottled black, but when I added the pale green and yellow strings, this piece came alive. it was fun to do, and taught or reminded me of several things. 1) The effect of your discharging liquid may not be visible until you rinse your piece. 2) Adding some paint can transform any fabric into just what you want. 3) Complimentary colors work wonders. 4) Getting out of your rut once in awhile is good for you.
Suzanne Sanger

Challenge 39 - Pat F

Here is my piece, but I haven't a name for it. I used my 40year old memory of neurons as the basis for it, but enjoyed using every colour of Seta-Color fabric paint I own to hand paint the cell bodies. I then FMQ'd around the cells to accent them a bit. At that point I had thought to emphasize the green in the cell bodies with the beading, but found an iridescent black bead that worked much better. It's been along time since I completed one of these challenges. It's good to get back at it. Please forgive the poor photography. Comments are always welcome.

Pat F in Winnipeg

(fndlmous)

Microscopic Cells

My inspiration for this was bone tumor cells.

The bone is real with painted cells. On the background some cells were painted and somer were sequins and beads. I'm sorry the painted cells don't show up very well.

The dark areas on the background were painted

The blood vessel was couched yarn with painted off shoots.

I asked my sister for the largest turkey bone. Her husband saw it and asked if she was saving it for a purpose. When she told him it was for me he said "I'm not even going to ask"

So is That What It Looks Like?

Cellular view of Dis-Ease, I was amazed when I looked up a condition I have and found out that on a cellular level it was kind of pretty.

Lots of layers of started with deconstructed screen print, enhanced with stencil and fabric paint touched it off with minimal free motion and some puff paint to get the 3 d effect of the cellular changes occurring. finished is 8.5 x 11

comments welcome

Rita Legere

Stairstep Twinning

I tried something new for me with this one. First I drew the design on white Swiss Batiste, then I sandwiched and quilted all the lines. Next I painted the whole cloth using acrylic and metallic paints. It took forever!

The quilt measures 14"x24".

Cherie

Hyphae

This month has been totally insane with the end of the semester, Christmas commissions to finish, and getting ready to produce a play on our campus (yes, I do that too!). But I couldn't miss a challenge....
I have done a fair amount of painting so I just grabbed the paints and inks and decided to play with an inkblot technique... wet the fabric and squish some pain on one side then fold it and see what came out.... no planning, just playing....
After I smushed the copper around, it started to look like a yeast bud or hyphae.... so that's what I ran with.
Comments of course are welcome....

Onion Cells

The was a really great challenge. When I saw the theme I immediately thought of high school biology class where an onion was one of the first things we learned to examine under the microscope. The background is a hand dyed fabric I made several years ago and was just waiting for the perfect project. After stitching tulle around the free-form cell shapes, I added the black portion. It is a fabric paint made by Tulip that puffs slightly and changes texture when heated. The green onions are layered and fused, then highlighted with watercolor pencils and Pigma pens. The edgres are uneven and jagged, just as a specimen would appear under the microscope. Any and all critiques are always welcome.

Microbial Bliss

This challenge excited me alot. I have degrees in biology and medical technology. I had no real plan in operation and just went with what ever is in my head. I love microbes!!!!! And cells and anything to do with cellukar biology.

I used some piecing, reverse applique and fusing. I used a sponge to paint on the fabric and then the loudest threads that I could fine.

Comments and critiques are very welcome.

The piece is 23 x 25 .

Sea Ranch Carol

polymer strands

This quilt is 12'x17". I started by fusing several different sheers together to achieve the right colors then I cut the strips and fused them onto the black. I painted in all the shadows and accent spaces with seta color, shiva, and sharpie pens. I am a very very beginning painter and was very shaky about trying this. I almost quit at one point and was ready to throw the whole thing away but persevered and this is the result. Finally I covered the entire thing with illusion net and quilted on all the lines to accentuate the strands. It was a real pressing challange for me but I am glad I stuck with it and finished.

Pat Havey

Prayer Plant

What fun I had with this challenge! I don't have a microscope and didn't really want to use an image off the web so instead decided to attach my macro lens to the camera and go searching through my house for something that had an obvious pattern when viewed close up.

I took several photos which I liked but decided to go with one of the more graphic in the leaf of a prayer plant. The actual size ratio is 10:1 with the finished quilt being 20" high by 13" wide.
The photo on the left is the one I started with. The piece is actually a painted wholecloth with a background of cheap ($2 a yard) muslin from Dharma.

I think I may go back in with some paint to add highlights on the right side of the quilt. I like the way it accentuates the curve of the leaf in the photo.

As always, comments are welcome!

Challenge 39, Amoebas Play, 16" w x 15" h

This piece was an experiment that I have been wanting to do for some time. I started with a piece of batik fabric, outlined areas that I wanted to thread paint with designs from microscope slides and set some rules. 1) I would just get one shot at my thread painting - if it didn't work I would enhance with paint or whatever, 2) I would use only one color of thread in each area, 3) I would try to create a balanced composition, 4) I would use only thread and paint, and 5) I would use only what I have.

I outlined the areas with 30wt black thread stitched around twice. Stitched inside each with varying degrees of success which was dependent on the color used. Some areas, where I actually liked the stitching the most, were barely visible. I added additional color with Fabrico Markers.

Today I read somewhere that "there are no mistakes, there are only things learned". I think that applies here. Imposing rules helps to stop the 'paralysis of analysis' for me. So here are the things I learned. First, another time I would look for a fabric with a greater amount of light value colors. Second, I would then be able to find more higher contrast threads to use. Third, with higher contrast thread a possibility I would be able to make the more complex designs I had imagined and they would show up.

In spite of the fact that this piece does not match my imagined piece, I have had fun with it and am happy that I was presented with this challenge. I have not spent much time in my studio over the last three months. It's good to be back.

Any comments are welcome!

FFFC-39 Sea Foam

This challenge was a joy for me. I started by painting an aged piece of fabric that had been naturally rusted. The dyes I painted with started to bleed into the fabric in a big way, but rather than get upset I decided to go with the flow. I ended up with an intriguing background fabric which lent itself to drawing with pens the design that was floating around in my head. After completing the drawing, borders were added and the whole thing was taken to the sewing machine for quilting. This was my first whole cloth quilt, but it certainly won’t be my last. I loved the process of bringing out the design with the quilting. After all the drawn elements were highlighted, I used disappearing ink to make my guide lines for the background quilting. This was really fun for me and I’m already working on my next quilt using this process. As always any comments or suggestions would be appreciated.

Challenge 39, Grass

"Grass" is 9 1/2" x 11".
This piece shows my favorite grasses, Blue grama and Indian ricegrass, with their natural growth patterns, and various views of the florets and seeds, as well as a microscopic view of the grass remains in the soil (opal phytoliths).

The white PFD fabric was colored by laying strips of red, yellow, and green bleeding tissue paper down and rolling the fabric up and wetting it. I left it wet overnight to absorb the colors.

The images were photo transferred and then quilted.  Touches of ink (instead of paint, as I had the right color) were applied here and there for emphasis.  A close up of the microscopic view will be posted to the Yahoo site.


The opal phytolith images were taken through a microscope at 100 power (part of my Master’s thesis many years ago).  I am glad to make use of that research again after all these years.  I will add additional quilting in the background later (after the Christmas rush).  I always look forward to your comments and critique.  Linda Mac in WY

Challenge 39 - Micro Leaf

Here is my Micro Leaf. Finished size is 10.5 x 17.

I used acrylic paints - red and green - red and green mixed make lovely shades of brown. I painted the skeleton. As always - the acrylic paints loose their vibrancy - it had to be saved with the quilting - I had done a similar quilt like this with small circles - then I bead the circles - this time I changed the scale of the circles. I used yellow, red, maroon, two shades of green and brown threads. After is was quilted - I didn't feel the quilt needed an additional beading.

Lisa
In Cool and Sunny Seattle