i
n life, certain things require
defi nite separation by a hardline: drinking and driving, foxes and
chickens, tube socks and sandals.
When it comes to portraits, however,
hard lines can be a distraction.
Inspired by great masters who strategically
placed blobs of paint on canvas, I’ve
embarked on a quest to create realistic
portraits with fi ber. A fused, raw-edge
appliqué technique with minimal stitching
allows for a degree of success. Creative color
choices give a very contemporary vibe, as
with the portrait of my stepdaughter, Maya.
Still, those hard lines, where one fabric
yields to another, can be disturbing.
MATERIALS
- Ultra-fi rm, 1-sided fusible stabilizer, 1 yd.
(I use Pellon ®71F Peltex®.) - White muslin, ½ yd.
- Two spools of thread in contrasting
colors (I use 40wt–50wt.)
Optional - Gripping gloves, such as Grabaroo’s™ or
Machingers™ - Free-motion machine quilting mat (I use
the Supreme Slider™.)
Creating a portrait quilt that is less like an
Andy Warhol, and more like a Leonardo is
not as daunting as one might think. The
solution is in the stitching—using thread in
place of paint to blur and soften the lines at
the fabric’s edge.“Maya” • 14" × 18"
Th e quilt to the left started out exactly as the image
above. Th e hard lines in her face have been softened
and blurred with thread painting, making a more
realistic portrait.