Quilting Arts - February-March 2016_

(Grace) #1
across the highway before turning back. I
call these increments “the transition zone.”


  1. Once you have stitched the length of
    the practice panel, change threads and
    repeat the process stitching from the
    other side of the highway. (fi gure 3)

  2. In the end, the 2 colors should blend
    smoothly, softening or obscuring the
    hard line down the center. (fi gure 4) I
    used red and blue threads to make the
    stitching more obvious, but when done
    with threads of a similar color, the effect
    is very subtle. Look now at the portrait
    of Maya once thread painting has been
    applied to the surface.
    The varied width of the transition zone
    will help prepare you for thread-painting
    a portrait. Transition zones in a portrait
    should be wider when the curves are gentle,
    such as over a cheek or across a forehead.
    They will be narrower when the curve is
    sharper, such as over the nose, or around
    the lips. As a face changes shape, some areas
    fall out of the light. This shading is called
    a form shadow because it is created by the
    change in the form of the face. Adjust the
    transition zones according to the sharpness
    of the curve.
    Practice this technique and apply it to your
    next portrait project. See how softening
    those hard lines can make your stitched
    portraits more realistic.


want to know more?
See Lea demonstrate her
techniques on “Quilting
Arts TV” Series 1700.
Check your local PBS
listings, QNNtv.com, or
shop.quiltingdaily.com.

Quilting Arts TVwith SUSAN BRUBAKER KNAPP
Series 1700 Episodes 1-13


  1. Start at the side of the road and stitch
    across 1 lane and back, then 2 lanes and
    back, then 3 lanes and back, and fi nally
    all 4 lanes and back. Continue this
    process of running out and returning
    to the side—placing each new line
    of stitching next to the previous one.
    (fi gure 2)


Note: Stagger the pivot points so they
do not fall in a straight line, or create a
discernable pattern. About 25% of the lines
should cross 1 lane and pivot somewhere
near the fi rst dashed line. Another 25% will
cross 2 lanes and pivot somewhere near the
center line, while 25% will cross the third
lane and pivot at or near the second dashed
line. The fi nal 25% will make it all the way


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