Tag Archives | Dyed Fabrics

Using Coordinating Fabrics

In my last dyeing session I printed these two fabrics. I loved them and couldn’t wait to use them together!

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

But, what to do with them? In my usual fashion I pulled out every fabric that I thought MIGHT work with them.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

I tried adding some peach, as a transition color.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

Then, I removed some of the busiest prints and added black and dark purple.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

Now what? Should I use both bright and dull yellows?

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

Or maybe just dull yellow? (Which would mean I couldn’t use the yellow circles at all.)

Either way, I knew I needed a plan. Maybe something wide and short with a horizontal arrangement of purple.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

No, it really was too chunky.
I finally proceeded with the selection below, still wondering what to do.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

I thought I should lay out the focal point/line first. I cut up the yellow, trying not to dice up too many circles. I was pretty happy with this, but I knew I couldn’t properly audition it on a light design wall. I needed to see the purple/fuchsia around the perimeter for contrast.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

I stared in with the fuchsia and liked the added contrast. But what about those yellow pieces? I began to think that they were too big and chunky.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

What if I made them smaller and/or inserted fuchsia in some places? To audition the idea I did a little experimenting in the computer.

Using Coordinating Fabrics. Ellen Lindner, AdventureQuilter.com/blog

Hmm. I learned two things: 1 – Yes, the yellow looked better in smaller pieces, 2 – That’s too much fuchsia!

So, I reluctantly knew what had to be done: I needed to partially take it apart, cut some pieces smaller, and then figure out how to get everything back together again. And that’s when it turned into a giant Tetris puzzle!

Sometimes I hate it when I get a good idea! (Or was it really good? Watch for future posts so you can be the judge.)

Ellen Lindner

 

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Splicing Fabric

As I was winding down on my recent dye session, I tried a very random exercise. I loosely pleated a piece of fabric and scraped on a variety of different colors, as well as some clear paste. It was a gooey mess when I finished!

But, when I washed it out I found out that the underneath folds had not received any color. I got a roughly striped fabric. Hmm. The colored parts were great, but I didn’t want a stripe.

  Splicing Fabric

I decided to carefully cut away most of the white and then piece the colored parts together. Of course, I had to plan for seam allowances. I also saved the white parts, planning to piece them back together, too.

Here’s what I got. Kinda gorgeous, right? The hint of stripeyness is now appealing to me. I may need to tone down that large white blob, though.

Splicing Fabric. Ellen Lindner, AdventureQuilter.com/blog

Uh oh! I accidentally pieced this with wrong sides together. The side with the seams actually shows the brighter version of the fabric.

Splicing Fabric. Ellen Lindner, AdventureQuilter.com/blog

There’s not a big difference, though. I think I can use either side, actually.

Now, what do do with it. Any ideas?

Ellen Lindner

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Different Dying Techniques

Ghost printing yields pale, delicate results. Like this.

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

All you do is run clear printing paste through a dirty stencil. The paste picks up the color remaining in the crevices and dilutes it to a lovely pastel.

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

Isn’t it pretty?

Deconstructed screen printing (DSP) is quite different. Thickened print past, usually colored, is drawn onto a clean screen. (Or maybe stenciled on, or maybe applied evenly and then altered by lifting some of the paste  with various textured items.) Mine was drawn on: simple black lines. This was done at the tail end of my previous dying session and allowed to dry.

Once dry the paste will act as a resist. You can pull a color of paste through and the areas with the dried paste will act as a resist and will print as white. You can see this in the photo below, looking at the left side. My first pulls were with olive colored paste.

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

As you continue to pull, the pulled paste will break down (“deconstruct”) the dried paste design and it will begin to color the edge of the white lines, giving them halos, see above.

And then it will break down some more and print its original color. You can see that below in the dull gold areas. The lines primarily printed as black.

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

These will be fun fabrics to use!

Ellen Lindner

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Dying with Commercial Fabrics

I sure do have fun dying and printing fabric!

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

As you can see, I make no attempt at keeping my clothing clean. (Usually around this point my stomach begins to look quite colorful, as well.)

It all starts by soaking my fabrics in a soda ash solution. Once they’re line dried they’re ready to react with the dye.

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

In addition to the plain white fabric you’d expect, I also soak some previously printed/dyed fabrics that need some over dying. Sometimes they just need a little something more, but at other times they need the “completely cover this ugliness with a dark color” treatment. No worries. It all becomes useful in the end.

I did something new with this dye session: I overdyed some commercial ombre fabrics. They turned out beautifully. I’ll definitely do this again, although the commercial fabric frayed much more than I’m used to, so I probably won’t ever use it in a raw-edged application. The top fabric below is one such fabric. I like it a lot. But, I also like some intentionally messy ombre, so that’s what I aimed for with the bottom fabric. I like it just as much.

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

In the photo below, the purple fabric on the right is a commercial ombre. The yellow one on the left I did completely. It has a few errors, but will still be very useful. I LOVE the way these two look together! I’m thinking they’ll end up in the same quilt.

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

I dyed this one myself. MAYBE it can be included too. (Although it may be too much of a good thing.)

Dying Again. Ellen Lindner's fun dying fabric. AdventureQuilter.com/blog

I have many more results to show you in upcoming posts.

Which one of these is your favorite?

Ellen Lindner

 

 

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“Heat Wave” Complete

My latest piece, Heat Wave, is now complete.

Heat Wave, an art quilt by Ellen Lindner, AdventureQuilter.com

Heat Wave

I’m quite happy with it! The design was dictated, in part, by the triangular orange scraps I had on hand. I like the sharp points.

Heat Wave - detail, an art quilt by Ellen Lindner, AdventureQuilter.com

At 35 x 35, this piece is available for $1200. See more photos.

I used ALL of my orange and navy hand dyed fabrics in this piece. I’m looking forward to an upcoming dye session when I can make more.

Ellen Lindner

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Creative Whimsy Spotlight

As part of my spotlight on Creative Whimsy, I was asked to show several completed quilts.

Crotons served as an example of my earlier quilting style. This piece is one of my all time favorites!

Then, I showed some of my more recent abstract pieces, along with these words about my transition to this style.

My first attempts were definitely not great art, but I think they were necessary in order to develop my skills. I don’t regret the time they took or the fabric they required. The PROCESS was valuable! 

This is my mindset in a nutshell. It makes me a little bit fearless because I know the process is valuable, not just the product.

Ripples and Runs is a more recent abstract piece, featuring my own hand dyed fabric.

Ripples and Runs, an art quilt by Ellen Lindner. AdventureQuilter.com

Ripples and Runs

Ditto for Exuberance

Exhuberance, an art quilt by Ellen Lindner, shown in an intererior. AdventureQuilter.com

A big thank you to Creative Whimsy for featuring me and my art! Their website has many more spotlights of very interesting artists. I hope you’ll investigate.

Ellen Lindner

 

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Featured Spotlight on Creative Whimsy

Creative Whimsy, a website about artists and their endeavors has just done a spotlight on me. How nice!

Ellen Lindner Artist Spotlight - Creative Whimsy. Adventure Quilter.com/blog

They sent me a ton of questions and I answered most of them. (I mean, you didn’t want to read PAGES about me, right?)

I was glad they asked about my process. I explained how I make decisions at the design wall, since it’s the part of quilt making I really like the most. I showed this series of pictures as an example.

Composing with an Eye Toward Value. Ellen Lindner, AdventureQuilter.com/blog

Composing with Value. Ellen Lindner, AdventureQuilter.com/blog

They also asked for a photo of my studio. So, I bravely walked in, LEFT EVERYTHING IN PLACE, and took a photo. This gives you an idea of what it looks like mid-project, although it’s usually much worse!

Ellen Lindner's studio 2024, mid-project. AdventureQuilter.com/blog

I hope you’ll check out the full article (and be willing to scroll past all the ads.)

Ellen Lindner

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Planning as I Go

As usual, my current quilt started with a high contrast piece of hand dyed fabric. This is all I had of it.

Planning as I Go. AdventureQuilter.com/blog, Ellen Lindner

What could I do to best show it off?

Planning as I Go. AdventureQuilter.com/blog, Ellen Lindner

The additional fabrics added above provided interest, but the original fabric swatch still seemed rather straight forward.

It was kinda hard to judge against white. I knew I wanted a blue background, so I added some to the design wall to help me judge the overall look.

Planning as I Go. AdventureQuilter.com/blog, Ellen Lindner

I split the featured print and splayed it apart. I thought this added energy, plus some interesting negative blue space.

I began to audition additional colors and fabrics. What about a mass of orange on the right and across the bottom? I placed folded fabrics to consider options.

Planning as I Go. AdventureQuilter.com/blog, Ellen Lindner

My orange fabric was limited and I knew I’d have to work with the shapes I had: sharp triangles.

Planning as I Go. AdventureQuilter.com/blog, Ellen Lindner

That didn’t seem objectionable. However, I did get rid of the vertical yellow point near the center.

As you might imagine, there was some fiddly stitching on this one. It was actually easier than I expected and I’ll show you some about how I did it in the next post.

My next question: what to do with the lower left.

Ellen Lindner

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Following the Fabric

I’ve been working on a new quilt, using fabrics I dye-printed during my last dying session. As you can see, I made them to go together.

Dyeing with Forethought. Ellen Lindner's fabric dyeing results. AdventureQuilter.com/blog

To get started, I pulled these out, along with every fabric I thought MIGHT go with them. As usual, this stage was a rather ugly mess.   (I was toying with the idea of using some pure red bits along with the pink.)

That seemed like overkill. I removed some busy high-contrast fabrics, most of the red, and tried out a little blue-green.

Following the Fabric. Ellen Lindner, AdventureQuilter.com/blog

Much better. I was ready to move ahead.

There was a fabric combo in this collection that was really exciting me: the pink and black polka dots and the yellow-green print top left, with the little twiggy shapes. I liked the way the sharp little twigs contrasted with the round dots. Unfortunately, the photo above shows ALL the twiggy fabric that I had. I knew I would have to use it very purposefully and that it’s limited size would also dictate the overall size of the quilt.

Here’s the entire piece of twiggy fabric plus what I thought was an appropriate amount of the polka-dot. I quickly committed to the central composition and stitched two primary seams. Everything else is shown in audition stage and is only folded and pinned.

I really liked the vertical strip of black and yellow-green stripe just right of center (above.) I made it by carefully cutting a strip from the fabric with the large yellow-green rectangles. I was very happy with that result

Below, I added more fabric on the right. The black spacer between the stripe and the dots was needed as a calming note.

Following the Fabric. An art quilt in progress. Ellen Lindner, AdventureQuilter.com/blog

I wasn’t sure about the large rectangles on the left, shown above. They seemed to be sorta taking over. I removed them and concentrated on the right side for a bit. This corner combination seemed about right.

Following the Fabric. An art quilt in progress. Ellen Lindner, AdventureQuilter.com/blog

The left side was definitely going to need some attention. At this point it needed some weight (black) and some pink.

In the next post I’ll show you my progress.

Ellen Lindner

2

Adding Interest to a Background

My current quilt is progressing along nicely, (but slowly.) I spent a LOT of time piecing the background and was quite happy with it. But, I wanted to tie the background of angular shapes into the design more. Since I planned to use large circular shapes in the foreground I thought skinny circles in the background would add interest and unity.

First, I auditioned fabrics for the background circles. I wanted them to be fairly subtle. Maybe about 5 or 6 of them. I thought these would be pretty close. But is that darkest blue too dark? We’ll see.

Adding interest to a background. Ellen Lindner, AdventureQuilter.com/blog

I drew the circles on my computer sketch and used that as a loose guide. I spent a good bit of time cutting the fused fabrics and arranging the circles. Here, 3 of my planned 6 are in place. But not attached yet! I pinned everything and studied it before fusing the circles in place.

Adding interest to a background. Ellen Lindner, AdventureQuilter.com/blog

What do you think about the dark blue circle, top left? I think it stands out a little, but I think it will work.

And this is where I am now. The background circles have been fused on and I’m working on the two foreground circles. (The colors are actually much brighter and I’m in love with them!)

Adding interest to a background. Ellen Lindner, AdventureQuilter.com/blog

OK, what about that skinny blue circle now? I think it’s okay, since the strong red foreground elements will attract more attention.

One thing that didn’t work: a wheat stencil. Actually, the stencil itself worked fine. But, it was just too large and too different from everything else. I’ll save it for something else.

Piecing a Green Background. Ellen Lindner, AdventureQuilter.com/blog

I’ve been thinking about the title. This piece is about my parents. My working title was “Daddy Was a Farmer, Mama was a Southern Belle.” While that’s a great title, I don’t think it goes with the narrative of this story. I’ll simplify it and am still thinking about. Maybe I’ll use their names, the number of years they were married, or something along those lines. I can still reference farming and southern hospitality in the artist statement.

I’m getting close!

Ellen Lindner

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