Carving a Background Stamp

    

While shoving strolling through the 2011 International Quilt Festival shopping are, I ran across the colouricious.com exhibit and found this lovely Indian Printing Block. I was delighted to take it home with me, where it sat unused for about a year.

I had an idea that a solid background stamp would add some interest to the original design, and that I should carve this stamp. I was fortunate to attend, also in 2011, Jane LaFazio and Pamela Underwood's Lavender Sage Art Retreat in Austin, TX, where we carved stamps that we designed. Armed with these skills, I jumped right in.

Here's is what I used:

Speedball Carving Set (carving tool and stamp block blank)

tissue paper

oil pastel in light brown color

stylus for tracing

Stayz-on stamp pads in several contrasting colors

Muslin and paper

Original stamp on tissue paper, outlined with oil pastel

First, I stamped the original stamp on tissue paper. (above) I outlined the shape in oil pastel, which is soft and smeary, just what I wanted for this job. I flipped the design over on to a stamp carving blank block and used a stylus to go over the outline. The smeary oil pastel design was transferred to the block. (left) Using my basic little Speedball stamp carving tool, I began removing the portions of the block that I did not want to include in the image. (left)

Here's what it looked like when I finished carving it and slapped a purple stamp pad on it. It was not difficult to carve because I kept the shape simple, and the image stamped beautifully.

What I have learned about the original stamp is that it does not work well on paper (at least not index cards) because the detail is lost, but that it works much better on fabric, although not as well as I would like. I think this might have had do do with the surface upon which I was stamping. I used a dropcloth over a cutting board and it may have been too hard. 

Stamps on index cards, much of the detail stamp is lost.

Background and original stamps on fabric;

better but not as detailed as I would like.

In conclusion, I think I can get the image that I want by stamping on fabric on a padded surface, yet to be determined. If you give this a try, please comment and let us know what worked best for you.

Update: After all my experimentation, I discovered a video on the colouricious.com site that helped immensely: Inspired Block Printing with Jamie Malden.

Digital Poppies for Houston ATC Swap

I took time out from stitching to work on a few Artist Trading Card designs for the ATC swap at the Houston quilt show in November. I plan to print this on fabric, probably draining every drop of ink from my printer's color cartridge, iron it on to peltex, and embellish with beads and embroidery. I'll iron a fabric back on it, and finish the edge with a machine zig zag stitch or a hand embroidered buttonhole stitch. I love the colors, and I hope my printer will duplicate them as vividly as they show up in PhotoShop.

I started with a layer of solid fuschia, then added layers of brushstrokes in various colors. I added the flower photo (taken in my front garden in the spring), and placed it between layers until I got the effect I wanted. The green floral design across the bottom is a brushstroke, and I even tried some embroidery stitch brushes (didn't like the effect). PhotoShop brushes are fabulous, and with so many free ones out there it's easy to build up a large library. Some of my favorites are French handwritten script, kanji symbols, floral designs, and abstract designs.

Big CQ Countdown

I do believe that I see a tiny light at the end of the tunnel. I am working through my stack of "Big CQ by 2-0-1-2" blocks for the final time. I've finished a few blocks, and will be posting them here until they are all completed. I don't remember the exact count, but I think I have approximately 45 blocks in this project. Block #1 (below) has not been blocked, and intend to use Gerry Krueger's olderrose's blocking technique to straighten it out.

The working title of this quilt is "Hats' Desire".  As always, I look at my work and I see so many of my friends represented there. The little butterfly in the bottom right corner is one of Cathy Kizerian's Crazy by Design "golden lace" pieces. The hand dyed cotton lace across the center and the yellow sequins are gifts from KG. I purchased the purple crushed velvet while in Arkansas attending a cq class with Martha Green. I learned to make the yellow fargo roses in one of Judith Baker Montano's classes. Every block in this quilt is a reminder of happy times.