October 24, 2011
Journal Journeys, the whole cloth story of Karen Killins- Robinson
Round Robin in Blue
The center is a paper pieced pattern and the remaining borders were added by my Monday quilt group (Pam Brown, Kim Hicks, Gaye McKissock, Tracy Scott) Each step was a mystery until our final reveal. I was delighted with the result and used the star as a template to echo quilt more stars in the corners.
Won an Honourable Mention Ribbon in the 140th Saanich Fair.
Doorway to Imagination
In 2007 Quilting Arts Magazine issued a Reader Challenge “Doorway to Imagination”. While my entry was not published, it opened the door to the possibility without crushing my enthusiasm. I created the door using snippets of rocks and inside the door is a ruin of a Irish church whose headstone date in the 1600’s
A Little Crazy Silk Ribbon Embroidery
This piece started with a pieced crazy block. Using embroidery stitches (blanket, feather, x’s and of course French knots) a journal sized sampler was created. There is no such thing as using a few embroidery stitches – it is addicting! A dragonfly, fish and spider wander among the silk ribbon flowers and grapes and there is always room for a few beads.
Most of my small pieces are creating for my Fibre Arts Journal Group and sun printing was no exception. We meet once per month and teach each other various techniques. This piece was sun printed using metal words as a resist and results are unpredictable. Organza Ribbon placed over top plastic netting, stitched and burned. Rummaging through the embellishment bins for beads and brass washers is half of the fun.
In my Sea Sole
Experimenting with fibres is all about exploration with different techniques and products available. The background is a scrap of satin from my mother-in-law’s blouse and fabric resembling sand that are both free motion stitched. The fern and starfish are made using Puff Paint which was applied to the sole of my shoes, dried, removed and then painted with acrylics. Shell embellishments and glue beads have been added for sparkle.
The Octopuses Garden – Velvet Embossing -Discharging
It was difficult to resist a second piece using the embossing velvet technique. The navy tencel background was discharged with a brush and stitched with variegated thread. Iridescent fish beads swim under a net. Rock beads imply a sandy bottom under the lacy coral. An experimental binding using a net type fabric was used. Antique linen was used for the backing and label.
Rust – Can’t Hack it
Upper left corner piece started as a white piece of fabric and was rusted in the sun. This process is not for control freaks as the outcome is unpredictable. The black borders were discharged and pieced to commercial fabric. Strips were raw edge appliquéd on top. Embellishments include buttons, red netting and a rusty hack saw.
Heron by the Seashore – Velvet Embossing
The heron and flowers are embossed & burned velvet stitched with metallic thread. The background fabric was discharged to mute the colours. Practice free motion circles over organza ribbon and a feather embellish the piece. Old linens were used for the back of this piece.
Holy Cow Button Tornado
Pieced strips of blue fabric were used for the background sky with a white fabric tornado raw edged overtop. 80 plus white buttons of various shapes and sizes make up the button tornado. Seed stitching helps the upside-down cow button stay afloat. The binding is applied back to front and hand stitched with embroidery floss.
Clematis Leaves – Timid mixed media
In this simple piece, I used Judy Farrow’s technique of burned organza, painted paper and stitch combine to make the leaves come alive. Burn the organza with a soldering iron (but not too much). Fussy cut pink dogwood. The grey background was minimally quilted.
Wet, dry and knitted felting has shown up on the Fibre Arts scene in a big way. Ten years ago there were 2 or 3 books on the subject and currently there is an entire shelf dedicated to felting. Flannel background; Felted wool embellished with buttons and felted ball.
Letters from Grandpa
Flour paste resist bits, commercial fabric, pieces of an envelope and letter from grandpa Killins were combined to make this memory piece for our son. The photo was printed on Printed Treasures™ (fabric for ink jet printers)
Personal letters have been replaced, first by phone calls, then by email and now it is texting, tweeting, instant messaging and Facebook.
The background piece was dyed with chocolate when our chocolate fountain was bumped at an outdoor party. It is seed stitched with 3 shades of embroidery thread. Mixed media samples are hand stitched to 12 blocks of black tencel* (a regenerated cellulose fiber made from dissolving bleached wood pulp). Samples include bark, buttons, rusted ring, felted piece and texture magic.
Where the Poppies Grow…
Shaving Cream Marbling with black and red paint inspired this remembrance piece. The background was cut with pinking shears and raw edge stitched to a pillow case background. Raw Edge rectangles frame a handmade clay button and the poppies were fussy cut and fused.
Lest We Forget
There is Something in the Autumn
Oak leaf – paper, paint, and thread on organza burned with a soldering iron. Fall leaves stamped using Jacquard’s Lumiere® paint and outlined with metallic threads and background quilted with black thread for texture.
Gingo Leaf – copper Shiva stick and texture plate. Painted foam fern and curved piecing – an experiment in fall. Judy Farrow taught this class.
Do you see what I see?
A tone on tone black synthetic background was used to enhance coloured threads and beads. Hand dyed cheese cloth combine with beads, curly metal a bit of knitting and ribbon (taken from Mary Anne’s share pile). The binding is an experiment with “unknown” fabric to continue the metal theme of the piece.
The background has been painted using Jacquard’s Lumiere® paints, pieced, quilted and overlaid with organza. Copper foil was added and then echo stitched by both hand and machine. The letter K was embossed onto foil and antiqued. Embellishments are foil buttons, vellum and batting squares, brass washers, beads cap top and copper piping.
Don’t Leaf Me
The background is commercial fabric, quilted echoing the leaf patterns. Embellishments include Model Magic leaves painted with Lumiere® paints over hand dyed cheese cloth. The yellow leaf is a photo printed on Tissue paper – secret ingredient to preserve it, scrunched and quilted onto the piece with Free motion quilting. The binding was left raw edge with a thick wool ribbon stitched over top.
Lenny & Me
The background is free motion leaf stitched by Lenny De Groot who generously sells snippets of fabric to the guild. Shiva Sticks were used to blend colours of the background and center piece which I wove using various yarns. The leaf was created using a white fabric base, bits of thread waste and fabric snippets overlaid with a net and stitched echoing the leaf shape. The bead is from Button, Button – Vancouver
Silk Fusion – Illusion
The rough texture of the background contrasts with the delicacy of the silk fusion. Long Stitches of ice blue thread give the illusion of movement. Coloured pencil overtop free motion stitching added a false border. When the binding doesn’t quite have all the colours of the centerpiece add a little paint. Lift the lower left corner – the backing is a left over paint pad with a few hand stitches added for surprise.
There has been a renewed interest in loose tea with many shops popping up throughout Victoria which was the inspiration for this piece. Thread writing using free motion stitching made this whole cloth sampler fun – my handwriting using my sewing machine – a novel concept. Tea is always served at our monthly Fibre Art explorations and is one of my favourite beverages. Oh, and there is a difference between decaffeinated and herbal!
This flower pin belonged to my husband Doug’s grandmother, Margaret Robinson. I echo quilted around the pin adding some leaves to pop the hand dyed border which was left not quilted and cut on a curve. Pink / Red tones are outside of my colour wheel comfort but I enjoyed working with this inspired piece of memorabilia.
West Coast Winter
This piece incorporates thread painting, piecing, raw edge appliqué, quilting and a photo of Vancouver. The photo is printed on Printed Treasures for ink jet printers. My fibre arts group each did a panel of their own using 5 of the same fabrics.
A Touch of Mexico
A remnant of polyester reminded me of Mexican tile work. This piece was machine quilted then hand stitched during our vacation in San Jose del Cabo. The fabric is reminiscent of the sun drenched colours of Mexico. Beads stitched around lace, also echo the raw edged fabric and French Knots were added when I ran out of beads.
Do you know the way to San Jose Del Cabo?
Adobe houses on the hill covered in bougainvillea are very representative of this part of Mexico. The yellow and orange blocks in the piece were the wall colours inside of the condo where we stayed. The batik sky is the unbelievable colour of both the sea and sky. Every other furrow in the hills is quilted with matching thread for added depth.
My Malahat Mountain Landscape
Straight stitching cover this layered landscape bound in pillowcase style. My view is down the Central Saanich valley toward the Malahat and because my fiber arts group produces a piece each month, it’s usually not about making a masterpiece but just getting it done.
Malahat view = escape from reality
A is for Apple – An apple a day
Fabric Painting taught by Ana Buzzalino at Quilting in the Trees, Victoria Quilters’ Guild’s annual retreat held at Pearson College. An alcohol print of apples and leaves was painted and stitched in the upper left corner. What fun stitching words about apples with variegated thread. A thin slice of Red Delicious apple was used to stamp this piece – it was a yummy part of my lunch.
Duct Tape Quilt
Made specifically for the Duct Tape Contest at the Saanich Fair sponsored by Jack FM (103.1) this piece is made completely out of duct tape and not quilted at all. My “unquilt” won second price in the household items category.
Paint & Play – Coreen Zerr’s class @ Quilting in the Trees
On a day of fun, at Victoria Quilters’ Guild retreat we created our own painted fabric using various paints for effect. My photo of Mt. Baker was in the same colour family and is printed on Jacquard’s Extrav Organza®. Coarse salt sprinkled on wet paint creates the starburst effect. Free motion stitching, pencil crayons and beading were applied.
’57 MGA Bits & Pieces Landscape
Landscapes are very popular in the quilting world right now. The layered background has been raw edge pieced and quilted. The car is made up of snippets of fabric closely resembling the tyralite green of our MGA (currently being restored).
Silk Fusion – Angelina Appliqué
Black as a background always works for me. The inside is a piece of fabric that I call faux French Knots. I have used over ironed Angelina as the shadows for my velvet, organza and funky foil circles which were hand appliquéd. Laine Canivet, made the beads and silk fusion bit – a gift at our yearly exchange of embellishment bits.
Who Can Resist – Flour Paste Resist?
Remember playing with flour paste as a kid? It is still just as fun and messy! The top half of this piece is muslin experimenting with black ink and flour paste resist; stamped with copper coloured paint. The bottom half is ugly upholstery weight fabric that has been Gessoed. Pieced together these were heavily stitched with Orange French Knots added for colour. I can’t seem to resist those model magic, Lumiere painted soles for embellishing the piece.
Round Robin –It’s Not All Black and White!
The black and white center with copper mesh and organza was designed and pieced by me and the remaining edges and border by my Fibre Arts Group, (Satellite group of the Victoria Quilters’ Guild). Embellishments were added by others with some hand embroidery, beads and bits of coloured fabric. I thought it needed a red binding to enclose all of that Black and White loveliness.
Impress Me Now
In a class with Sherrill Khan this piece began life as white cotton. Layers of paint are added using Sherrill’s colour pallet. Objects were scraped into the wet paint creating a textured surface. Pieces of fabric and paper are raw edge appliquéd on top. Her Impress me stamps finish the piece which is bound with fabric from Sherrill’s line of Kaufman fabrics. The felted balls made by my friend and felt artist Karen Yearsley.
ENJOY KAREN”S WORK IN PERSON
through this Halloween!