As I talked about in my most recent couple of episodes (154 and 155), I had some homework to do for my design study group around "luminosity." Luminosity, if you're not familiar with it, is making it look like there's an internal source of light in your quilt, as if it's glowing. This is a tricky thing to achieve--it all has to do with value and placement of colors next to one another and such. Just having contrast doesn't necessarily equal luminosity. (This is one of my favorite examples of a quilt with luminosity.)
In any case, I saw this as an opportunity to use one of my favorite hand-dyed pieces from last summer. This is one of several that I refer to as my "tapestry hand-dyeds," because they're a half-yard of fabric, measuring roughly 18" by 42" or thereabouts, and turned out such that I don't see myself ever wanting to cut them into smaller pieces; therefore, I imagine them becoming backdrops for some sort of a long, rectangular, "tapestry-like" wallhanging.
And so, I introduce you to "A Walk in the Woods."
I wanted the hand-dyed fabric to be the stand-out here, so I kept my quilting and choice of thread more subtle. As it turned out, perhaps I went a little too subtle: When it's on the wall and you stand more than about five feet away, you almost can't see that it's been quilted at all. Oh well, I'm still quite pleased with the way it turned out.
The above was a picture I took of my quilting in progress. I'm still learning my FMQ and decided to just haul off and have at this one, trying to stay loose and happy while I was doing it. It actually turned out pretty well. A few places got a bit whonky, but again, can't see it from five feet away anyway!
I also did a little perspective, though not religiously so, on the leaves--the ones at the bottom are, for the most part, larger, and the ones at the top are, for the most part, smaller. I tried to make it all one continuous vine but I did end up having two different places, if I recall, that I had to end and start over somewhere else because I worked my way into a corner and would have had to backtrack over my own lines further than I really wanted to. But you can't see it, so let's let that be our own little secret, shall we?
This was the first time I did a faced binding. I like it. I want to do it again. And again. And maybe even again. Thanks to Susan Brubaker Knapp for her tutorial!
Oh, and I got all those purple scarves done.
(The ones on the bottom of the right-hand pile were my first three test scarves.)