The two images on this page show the beginnings of my experiments with quilted silk. Both are part quilted silk and part stained glass. There is another copy of the Victorian Flower Girl in the Quilted Silk Tutorial in my Tutorials section, done entirely with quilted silk techniques, with no texture or pattern in the materials, which makes an interesting comparison.

Link to Tutorials section


VICTORIAN FLOWER GIRL

I scanned the pattern for this Victorian crinoline lady from a book of needlework patterns. The outline was only just wide enough for making leading edges, but widening it to make the leading more pronounced would have lost some of the delicate charm of the pattern, so although the leading is there, on the top layer, it is barely recognizable as leading, and appears to be simply an outline. (Link on graphic samples page 1 to leading tutorial).

A copy of the pattern was used as the background for the image, and coloured in as I went along, so that the exact effect of each part of the image could be seen as it was added. For each section the background layer was selected, the current layer only made visible while the area was flood filled, then that area selected and promoted to a new layer. All layers were then made visible and Blade Pro applied for the glass effect. The colouring and Blade Pro were done in Paint Shop Pro 5, but where a pattern fill was required this was made in PhotoImpact 4. The layer sliders were adjusted to give the desired effects.

The fill pattern for the skirt of the dress was a two-colour graduated fill from pale pink to a sligtly darker one. A second graduated fill from two darker shades of pink was made for the inside of the pleats. The bodice, sleeve top, hat, and the main part of the apron were filled with the lightest shade of pink used in the skirt. The ribbons and hat trim were filled with the darkest shade of pink used for the pleat. The upper frill on the sleeve is the darker pink from the skirt, and the underneath part of the frill the same colour as the ribbons. The Blade Pro preset for all areas of the dress except the ribbons and the flowers on the apron is clear glass, made for this picture, using Andrew Ronayne's glass swirl.bmp reflection file. Clear glass was also used for the arms and the neck, which were coloured in a flesh pink.

Download clear glass Blade Pro preset
Link to Andrew Ronayne's site

The flowers on the apron were coloured red, and Tony Cheroke's cherry jello Blade Pro preset applied to the flowers and the ribbons. Etched glass Blade Pro preset was applied to the hat. Zenobia's pearls tube was used to place small pearls on the dress and as centres to the apron flowers. The smallest pearl in Zenobia's tube was copied to a tube of its own, so that it was easier to make identical sized pearls. The pearls were placed on the top layer of the image, with the leading.

Link to Tony Cheroke's site
Link to Zenobia's tubes

The flowers and the smaller leaves were coloured appropriately on the background layer, promoted to their own layers, and various of Tonly Cheroke's Blade Pro presets applied: lemon jello, berry jello and iridescent black. For the larger leaves below the yellow flowers, Andrew Ronayne's green glass preset was used. The butterflies were coloured royal blue with red spots on the wings, and clear glass preset used.

For the grass, a fill pattern was produced in PhotoImpact 4, using the grass2 texture on a rectangular 3D trim path object. This was saved as a bitmap file and imported into Paint Shop Pro 5, to be used as a pattern fill for the grass layer. Andrew Ronayne's green glass Blade Pro Preset was applied.

The remaining white area of the background was selected and basic glass Blade Pro preset applied, with texture raised and the lights coloured pale blue and darker blue. This did not give quite a strong enough blue to the area, so I flood filled the background with pale blue.

Finally, a bitmap copy was made, and a simple 3D frame coloured with the gold ramp and diagonal lighting was added in PhotoImpact 4.

   


WATER LILY

This pattern was also scanned from a needlework book. Most of the colouring, apart from single colour flood fills, was done in PhotoImpact 4, and the flood fills, layer work and Blade Pro applications, in Paint Shop Pro 5.

An opalescent fill, as described for 'FAIRY' on page 2, was made for the dragonflies' wings, and Blade Pro preset basic glass, with texture raised to 73, applied. Graduated fills from cream to pink and from pale to dark pink were made for the water lily and Andrew Ronayne's prism Blade Pro preset applied. The stamens were coloured dark brown and Tony Cheroke's orange jello Blade Pro preset used. His cherry and lime jello presets were used for the body of the left dragonfly. For the top of the leaves, dark sparkle preset with height set to 47, and the shape changed to the rounded single bevel, was used.

For the edge of the leaves and the right dragonfly's body, a new preset 'dragonfly' was created. The water background is the water4 texture from PhotoImpact 4's texture gallery. A new preset, river, using this same texture as the bitmap reflection file, was created and used over the background.

Download 'dragonfly' and 'river' presets

The frame is a standard classic frame from PhotoImpact 4.

The patterns used on this page were taken from 'Countryside Needlecraft Source Book' by Lynette Mostaghimi. (Anaya Publications Ltd. London. 1992)  

 

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