What types of fabrics do you use for fabric collage?

I am often asked that question. It would probably be easier to answer the opposite of that question: What types of fabrics don’t I use for fabric collage?

I use them all, if appropriate. (Okay, maybe not really heavy upholstery fabrics. At least not very often.) (For a more complete answer, visit this blog post: Choosing Fabric for Fabric Collage.)

But what about novelty fabrics? Do I use them?

Oh, yes. All the time. Most often, I cut the prints up so much that the original image—the “novelty” part of the fabric—is almost unrecognizable. I might just be looking for a change in color or value.

However, one of my favorite things to do with novelty fabrics is to sneak in an element that has to do with the theme of the piece I’m creating. I don’t usually intentionally hide them, but I hope they aren’t immediately evident either. I don’t want them to distract, after all. So, in the end, spotting these little trinkets becomes something like that game you played in the car on long trips: I Spy with My Little Eye.

One example is the Australian creatures I included in “Crocodylus Smylus” (or “Stevie”, as I call her). Stevie the salt-water crocodile is so big (20 feet) that hiding creatures in her was pretty easy. I didn’t have to work at it at all. I used a lot of Aboriginal-themed fabrics in this piece—seemed to make sense since Salties are native to Australia.

Crocodylus Smylus
A lizard hiding out on Stevie’s belly.
A troop of kangaroos on Stevie’s tail.
I also included witchetty grubs, a large moth larvae eaten as staple by Aboriginal Australians or on a dare by us more squeamish persons.
Nearby the witchetty grubs is a parade of emus.

On smaller pieces, such as “Golden Temple of the Good Girls,” I had to work harder to fit in thematic novelty prints. In this case, they had to blend in because otherwise they might have been too distracting. The key is make the novelty print work for you as is. In other words, to make it work just as your other fabrics do, to either blend or provide contrast in creating form.

Kiiora from “Golden Temple of the Good Girls.” She was a self-assured and sometimes fierce little thing, who seemed to know that she was descended from dinosaurs. I hid a bit of T-Rex in her shoulder.
Can you see it here? Look for teeth.
Here you go. I used a portion of the neck and the lower jaw–sideways with teeth at lower right. There’s a couple more dino parts included as well. They had the perfect shades of green I needed. But just as important, the fabric fit (in my mind) the subject.
Kali the mini-Schnauzer.
I replaced her dog tags with hearts. But I also snuck in a little blue terrier beside the tags.
A different terrier peaks out of her ear.
Can’t see it? Maybe this helps… See the head and front paws? The terrier has just the right value for the shadow inside Kali’s ear.
Djinni cat.
More hearts, this time along my studio cat’s upper thigh.

So sometimes novelties are hidden, or at least subtle, but sometimes, using novelty prints is part of the point of the quilt. As I have said before, it is often a boost to creativity to set limits or challenges for yourself, such as working in a particular color. In the case of “Peace, Love, Tie-Dye, Save the Whales,” I set myself the goal of working with novelty prints. I specifically searched for novelty fabrics that would fit the theme of each portion of the quilt—Peace, Love, Tie-Dye, and Save the Whales. (For a complete description of this quilt of my son Sam, visit “Quilt Story: Peace, Love, Tie-Dye, Save the Whales.”)

“Peace, Love, Tie-Dye, Save the Whales,” 2012, 36 x 53 inches
“Peace” from “Peace, Love, Tie-Dye, Save the Whales.”
Peace signs in forehead of “Peace”
More “peaceful” words in the neck of “Peace.”
“Love” from “Peace, Love, Tie-Dye, Save the Whales.”
Finding novelty prints for “Love” was of course a breeze.
I added the “Mom” tattoo on his neck.
“Tie-Dye” posed the biggest challenge in my search for appropriate novelty fabrics. Most tie-dyed fabrics are too large of a design to be used at the scale I needed. A student friend gifted me some hand-dyes of her own that had smaller color transitions which worked for the portrait.
Still, I also included some batik fabric that resembled the sun-burst design of a tie-dye. A couple can be seen in his forehead above.
Can you spot the sea creatures in “Save the Whales”?
Whales, orcas, and narwhals frolic across the forehead in “Save the Whales”
The sea mammals make another appearance on his cheek.

Upcoming Blog Previews

Finally, as a preview of upcoming blog posts, I present a few of my Session Three and Session Four Empty Spools student works. Check in next week and the week after for complete “On the Road” posts for the classes I taught in Pacific Grove, California. Several students worked small creatures from their stash of novelty prints into their much larger images. Check out these works in progress.

A pair of dogs by Mary Ellen Sakai. Do you see any creatures hiding out in the dog on the right?
There’s a chipmunk on the dog’s forehead.
And a bunny on top of the dog’s head.
This border collie by Jody Rusconi has a doppelgänger.
A mini border collie that she hand-drew ahead of time (and a HUGE snake from a fabric print).
“Devil Dog Gibby” by Vicki Conley.
There are hearts around Gibby’s muzzle.
And a wee upside-down pig under her eye.
Here’s “Bentley the Rainbow Dog” by Shannon Conley. Look closely at his hind leg.
There’s an orange armadillo: “One of my favorite non-dog animals,” says Shannon.
Raggiana Bird of Paradise from Papua New Guinea (original photo image by permission of Rick-Lilley) by Jan Avent.
Jan says she added one of the bird’s favorite things to eat on the branch.
Holly Batterman’s “Miss Brandy” is a dog that loves to run and chase. Can you tell?
Holly worked in a hedgehog (upper left) and squirrel (lower right) into Brandy’s forehead.

So you see, even novelty fabrics can be used in fabric collage. They can either blend in or stand out. It’s up to you. But don’t shy away from them. Give your novelty fabrics some love, too.

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