601 Chapters
Medium 9781617452697

Finishing

Wen Redmond C&T Publishing ePub

This chapter covers ways to protect your work and how to apply any last minute touches that might be needed.

POST-COATS

After you’ve given your work so much thought and attention, it is worthwhile to take steps to preserve it. Digital media can be susceptible to water damage, fading from UV exposure, airborne dust and dirt, surface abrasion, and so on. Post-coating is any surface treatment that extends the durability of your finished digital-art piece or substrate. Post-coats can be applied after your piece is completely finished and mounted or as you assemble the piece. To ensure permanence, post-coating is a must for any nonporous printed substrate.

In general, make sure everything is completely dry before any post-coat is applied. All sewing and ironing should be complete as well.

There are a number of different kinds of post-coats, including liquid/fluid, wax, and spray. Explore your options and remember to always test the product on a sample before applying it to your precious finished artwork.

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Medium 9781607059974

Yo-Yo Garland

Annabel Wrigley FunStitch Studio ePub

easy peasy

Yo-Yo Garland

What Do I Need?

Fabric scraps slightly larger than the pattern pieces (approximately 8˝ × 8˝ for the large yo-yo and 6˝ × 6˝ for the small yo-yo)

Basic sewing supplies

TIP

I have included patterns for 2 different sizes of yo-yo circles just in case you want to vary the design of the garland a little. The large finished yo-yo is approximately 3¼˝ in diameter, and the small finished yo-yo is approximately 2¼˝ in diameter.

special skills

•Refer to The Rules of Sewing

• Making and using templates

• Sewing a running stitch

• Sewing a whipstitch

Prepare the Pieces

Trace the large and small yo-yo template patterns on paper and cut out. Use the patterns to cut a few circles out of fabric in varying sizes.

Let’s Make It

1.Thread an arm’s length of button thread into the needle and knot the end about 2˝ from the end.

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Medium 9781607059608

Spark 22. Find Your Voice

Carrie Bloomston Stash Books ePub

I CULTIVATED THIS FABRIC DESIGN FROM MY LIFE AS A PAINTER. THE PAINTBRUSHES BECAME THE ARTISTIC STORYLINE OF MY FABRIC LINE PAINT! FOR WINDHAM FABRICS. USE FAMILIAR ICONS TO TELL YOUR STORY.

“You have to leave the city of your comfort and go into the wilderness of your intuition. What you’ll discover will be wonderful. What you’ll discover is yourself.”

ALAN ALDA

Living as a creative person calls on you to be exactly who you are. No matter what you do in your creative life, you will bring all of you to it. Creativity needs a subject. The subject of your creative life is you. You bring your senses, awareness, experience, and story with you.

As you figure out your preferences and desires, you will be cultivating what is called your creative voice. Your voice is a combination of your style, experience, work, and subject matter.

People will feel your joy, love, and excitement in your creations. They will also feel your pain, confusion, struggle, and fear. The things you make speak for you in the world. Why bother making a painting or a song if you could just say it with words? Art picks up where words stop. Creative expression is there to communicate the stuff in your heart that is so tender that you don’t have a voice for it. The creative product, whether a poem or clay bowl, is infused with your spirit. Everything you create is a self-portrait. The richness you mine for your subject is your own psyche. As Bono of U2 so beautifully put it, “the great songs kind of write you,” not the other way around. Let your work move through you; let it use you to speak. Staying open to it will allow you to become kind of like a pitcher. The water will pour from you.

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Medium 9781607054863

Cobblestones

Alissa Haight Carlton Stash Books ePub

65″ × 80″

This bright and sunny quilt design is perfect for any child’s room. Since it’s twin size, why not make it for your son’s or daughter’s bed?

This is the first quilt in this book that involves some improvisational piecing (see page 130). The improv section of the quilt will take the most time to piece. Take your time-embrace and enjoy the process and make the quilt top your own by knowing that no one is making a quilt identical to yours.

Based on 42″ fabric width.

Fabric A (white): 3 yards for background

Fabric B, C, and D (yellow, green, orange): ¾ yard of each

Backing: 4 yards

Binding: yard

Please be sure to read Notes on Making the Quilts in This Book (page 6). Label the pieces as you cut.

Fabric A (white)

1. Cut 2 strips 7½″ × WOF (selvage to selvage) and sew end to end; trim A1.

2. Cut 4 strips 4½″ × WOF and sew end to end; trim A2 and A3.

3. Cut 2 strips 16½″ × WOF and sew end to end; trim A4.

4. Cut 1 strip of each of the following sizes for the improv section: 1½″ × WOF, 2½″ × WOF, and 3½″ × WOF.

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Medium 9781571208330

July—Star Flowers Quilt

Kim Schaefer C&T Publishing ePub

Star Flowers Quilt, 20½˝ × 28½˝, made by Kim Schaefer, quilted by Diane Minkley of Patched Works, Inc.

    yard total assorted dark blues for pieced background

    yard total assorted reds for pieced border and appliqué pieces

   ½ yard total assorted lights for pieced border and appliqué pieces

    yard green for leaves and stems

   1 yard for backing and binding

   24˝ × 32˝ batting

    yard paper-backed fusible web

   6 buttons (optional)

Appliqué patterns are on pattern page P7. Refer to page 3 for preparing the appliqué.

Cut 15 squares 4½˝ × 4½˝ from the assorted dark blues for the pieced background.

Cut 40 rectangles 1˝ × 4½˝ from the assorted reds for the pieced border.

Cut 20 rectangles 2˝ × 4½˝ from the assorted lights for the pieced border.

Cut 1 each of appliqué pieces 1–19.

Refer to page 3 for general piecing and appliqué instructions.

1. Make the pieced background.

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