Almost there …

I guess I shouldn’t be surprised when my cloth goes wonky since I don’t measure anything except the height of each patch (1” for the black and white patches, 1.75” for the colorful patches) …

So it is what it is and this patchplay needs only two more headings for May and June up top and a strip of black and white patches along the right hand edge. Then I’ll let it rest until I decide whether to continue with the rest of the year or back the cloth as is. I’m good with it either way.

I’m also extremely good with the development of the new art … fully told blog. Since I didn’t formally announce the first posts, here they all are in chronological order …

https://ackertart.blogspot.com/2021/10/the-perfect-wedding-gift.html
https://ackertart.blogspot.com/2021/10/new-mexico-memory.html
https://ackertart.blogspot.com/2021/10/title-three-spirits-artistmaker-don.html
https://ackertart.blogspot.com/2021/10/roadrunner.html

N.B. From here-on-in I’ll just post the most recent

Inktense color swatch book

With all the back and forth between the old blog and the new blog, I neglected to properly credit Tansy Hargan’s Finding Your Color Voice online class for inspiring my recent experimentation. I thoroughly enjoyed her presentation style and, more to the point, learned an awful lot!

Because I wanted to preserve what I’ve been learning, this project was more about creating a tool than anything else; a book of swatches detailing the color combinations possible with the Derwent Inktense set of 24 dye blocks …

Each color swatch was a combination of one ink block color with each of the other 23 colors. Here are two of the blue swatches, with the key colors outlined in black for future reference …

I used Jude Hill’s paperless piecing technique to size each patch, with two pieces of cover stock as ironing guides …

Then used another Jude Hill technique to glue stitch the edges of the resulting patches, here shown back and front …

Next I ladder stitched the pair of swatches with a piece of watercolor paper in between to give the resulting “page” some body …

Then stitched the page to previous pages with DMC threads chosen to match the key colors …

with the result that the foreedge of each page is a key to the adjacent pages …

The remaining “raw” edges along the top and bottom were whip stitched with one strand each of black and white DMC …

Finally, the handstitched cover was given a light coat of Golden Fabric Painting Medium to protect the colors from any further rubbing (a problem that should be less of an issue when I move on to shibori) …

One last note: the “24 x 22” refers to the fact that I decided not to create swatches for two of the three black dyes as the results were too similar to be worth including.