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02 April 2007

Kilim 2

The starting point, a photo in a magazine (Hali - which has many scrumptious carpets and ethnic textiles).When it came time to start sewing, I couldn't find the photo, so worked from memory. Already you can see from the layout my memory was rather vague on this. The A4 bit of backing was cut into areas, to be covered by bits of fabric.
Here are the pieces of batting on their bits of fabric. A dab or two of gluestick holds them on.
First the patches are sewn together, using the edges of the batting as a guide; the seams are pressed open, and then it all gets some handstitching.
Then the machining - in various combinations of white, grey and black threads, two at at time in the needle.
The edge, deviously hidden from view, awaits ... leave it raw? bind it somehow? In a real carpet, the fringe would be at the bottom, ie the warp; but here, the "main threads" go across the piece. An example of how different techniques have different necessities and different limitations.

4 comments:

  1. It turned out really well. Maybe it's a good thing that you couldn't find the picture. A dark binding would be nice on it.

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  2. Wow, doesn't the stitching make a huge difference? Unifies it.... I like this one.

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  3. Interesting construction technique with the batting. May have to try that one.

    Couldn't believe how the dense stitching muted the whole piece. I've been meaning to do a sample (journal quilt?) to show just that - how different colors of thread and heaviness of stitching can alter the perception of the same base fabric.

    You're doing some good work here with these little pieces inspired by other textiles. Interestisng!

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  4. Your little quilts bring back our discussion of innovative, etc. Love this one but didn't until the stitching appeared. I think raw edges since we are voting. Actually this inspires me to crank up the sewing machine and attempt something similar - only as an exercise LOL because I have given up quilting. BTW - is it as small as it appears? Martha Ann

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