|The quilt top is pieced, but obviously not finished being quilted or bound|
I experimented with a different technique for constructing this quilt. I used silk organza as a base. I mounted the enlarged Rasterbator photo on a piece of foam insulation and layered silk organza over the photo so I could build the quilt pieces on the organza with bits of glue. The organza is simi-transparent, so I could see the areas of light and dark through it as I added the fabric.
It was a mild success. The glue soaked through the organza and stuck to the paper underneath, which made removing the piece from the board to quilt it a bit of a mess. I guess I should have put a piece of clear plastic shower curtain between the organza and the paper to better protect the paper, but I didn't.
I don't really like to build my quilts on a backing, because it means there is one more layer of fabric that can shift around when I quilt everything. I am manic about keeping everything FLAT. The more layers, the more likely something will shift. To help reduce the possibility of movement, I used spray basting to adhere the quilt top to the batting and then hand basted around the major image areas to keep things as flat as possible. There are a few puckery spots on this one, but nothing that catches my eye, unless I go looking for them.
|Black tulle laid over gray and black areas of the quilt.|
Then, I densely quilted the piece. I always anguish over quilting on portraits, because the quilting definitely can enhance or detract from the image. I basically try to follow the contours of the face, but when deep shadows are involved, it creates a bit of consternation.
Once I get the quilting done, I just can barely face doing the squaring up, binding, hanging sleeve and label. Wish I had the money to hire someone to do those fiddley bits for me!