background music: the landscape layer 23
background music: the landscape layer
Now that you have an understanding of the supplies and materials used to create fiber-art maps, let’s get into the process. This chapter will show you how to create the background or landscape layer—the surface where the streets, houses, forests, rivers, and so on will be placed. A beautiful surface sets the tone for each map.
After finishing this surface, I am sometimes tempted to think of it as a finished piece. That is because this technique can create a wonderful play of texture and color. But for map making, it is just the beginning step. Later in this chapter, you will see some examples of approaches for creating different types of landscapes.
NOTE
As you work through the exercises and examples in this book, remember that you are building a framework to create your own unique map art.
background music: the landscape layer 23
• Basic equipment and supplies for sewing, cutting, and fusing (page 20)
• Fabrics and stabilizers: Crinolines, solids, silk organzas, and sheers (page 21)
• Painting supplies (page 22)
1. To begin a practice piece, cut a piece of crinoline just a bit bigger than the intended size of the finished map. I use this material because of its stiff yet lightweight quality. It also helps to keep the quilt stable and flat.
2. Add casually-cut shapes of fabric to the crinoline using a sew-and-flip technique. To do this, place the first piece of fabric right side up on the crinoline. Add the next piece facing the first one, right side down. Machine stitch in place (along one edge) with contrasting thread. Flip open and press. Continue adding pieces until the desired area is covered. As you add a piece, try extending the stitches beyond it. This makes interesting marks in the “land.”
The sew-and-flip process
Completed sew-and-flip step
For the best effect, select fabrics that will not compete with the key elements of the map design, such as the roads, buildings, and so on. Play with the arrangement and be sure to shift the fabric placement as needed to overlap each piece. Don’t try to control it too much—just play! Create a pleasing arrangement and pin the fabrics in place so you will know where they go, or work spontaneously, adding and arranging the fabric as you sew each piece.
3. Leave any free edges raw. Use a hand-sewn running stitch or an interesting hand embroidery stitch to secure these edges to the rest of the fabric.
Hand stitch raw edges.
TIPS
• Do not feel that you have to make this layer realistic. In other words, we know that healthy grass is generally green, but shades of purple on the landscape could be effective as an abstract interpretation of the earth’s surface.
• Shift and overlap the fabric pieces to add more interest and variety.
• Sew down the raw edges using embroidery stitches that are not tightly packed together—try a herringbone or blanket stitch.
2. You can use fabric paint or acrylic paint. If you use the latter, combine it with an acrylic fabric medium to keep the fabric from becoming too stiff. Follow the manufacturer’s instructions carefully. Water down the paint with a ratio of one part water to three parts paint as a starting point. Apply the watered-down paint to portions of the fabric surface. Do not cover all the fabric with paint. You want to allow most of the fabric to peek through.
Experiment with colors that provide interesting effects. One approach is to pick a color in the same value range and hue as the fabrics you have used so far. After you’ve completed painting, allow the paint to dry, and then iron the fabric to heat set the paint.
Paint fabric.
PAINTING TIPS
• You might want to pick a color that is a shade darker or lighter than the fabrics.
• Another choice is white paint that has been enhanced with a bit of color found in the main fabric.
• Add various shapes by masking off areas using painter’s tape (page 35).
• Experiment with a foam brush, flat art brush, house painter’s brush, or inexpensive sponge for different effects.
• Apply the paint across two adjacent fabrics that are different colors. This step helps to blend the colors and minimize abrupt changes in color.
The goal of this step is to add the richness of layering and transparency to the background.
1. Select a sheer fabric for layering. Try picking something close in value or hue to the background fabric. Silk organza works better than synthetic because it does not have a shiny finish and it is less prone to burning or melting when ironed.
2. Prepare small pieces of the sheer fabric by backing them with your preferred brand of fusible web. (For more on using fusibles, see Fusing, page 31.)
3. Pin the sheer layering fabric in place. When you are satisfied with the placement, iron it to the surface. Fusing enhances the watercolor or layering effect because it keeps the sheer fabric flat against the fabric underneath.
4. Sew around the exposed edges by machine with a free-motion foot. This step doesn’t take much time, but it is an effective way of adding understated complexity and drama to the surface you are creating. Stitching around each edge of the fused fabric also helps ensure that it stays in place over time.
Silk organza with dark edge stitching
Completed background layer
PICKING THE RIGHT SHEER
• If your background colors are in the medium-to-dark value range, white or off-white silk organza can make a beautiful watercolor effect. White or off-white silk organza will not stand out as much on fabric that is in the light value range.
• Applying sheer fabric across bordering fabrics helps to blend the colors and to reduce abrupt changes in color.
• Collect sheer drapery scraps with interesting subtle patterns and use them with or instead of the silk organza.
• Alter the color of organza by painting it with watered-down fabric paint before you add it to the background.
MAKING THE STITCHING STAND OUT
Add hand stitching to areas away from the raw edges of each piece. This technique helps to add texture across the landscape. Try seed stitches and French knots.
If you want the stitches to stand out, use contrasting, thick thread. If you want the stitches to blend in or be subtle, use thin threads and colors that are close in hue to the background fabric.
Add hand stitching for texture across landscape.
Dark, medium, and light thread against light background
Dark, medium, and light thread against dark background
Different types of maps require different types of backgrounds, each having its own characteristics. Below are three examples that I have done. How would you approach creating each of them?
A landscape with lines and movement
Linear landscape
A landscape with an organic feeling, lots of repetition, and curves
Organic landscape
A landscape made up of squares and rectangles with elements that are parallel and perpendicular as well as shapes with hard edges
Rectilinear landscape
As you create your own maps, you’ll begin by creating a background that supports your vision. There is no set way to create a background—improvise, be flexible, and let the technique evolve as you become more confident with the process. Be open to trying many variations based on your specific design intent. Above all, think, design, and play!
