Here are four more postcards, since the jury of the Art Center at Fuller Lodge accepted the three below and will be selling them! I’m very happy about this, and the possibility of also participating in their “Affordable Art Sale” for the holidays.

Another fish:

Origami fish fabric postcard, all cotton, backed with watercolor paper, with triangle delica bead accents.

I’m experimenting with scanning these smaller pieces rather than photographing them, which is giving a much more realistic representation of the colors, but not as much sparkle on the bead accents. The “bubble” beads on this fish are matte, but the ones on the eye are shiny.

A red crane:

Origami crane fabric postcard, all cotton, backed with watercolor paper, with delica bead accents.

I have a new edge technique after the last ones — a double pass of my serger with a three-thread overlock hem stitch, once with the right side up and the second time with the wrong side up to fill it in. The corners aren’t as perfect as I would like them to be, but I’m working on them.

A yellow crane:

Origami crane fabric postcard, all cotton, quilted and backed with watercolor paper.

This one has a quilted background, instead of any beading accents, because I wanted to sink the blue fabric down a bit. I like how it turned out.

And finally, a blue crane:

Origami crane fabric postcard, all cotton, backed with watercolor paper, with bugle bead accents.

I love these colors, but the crane didn’t really pop out of the purple until I added the bugle beads along the border. Now I’m happy with it.

So I took a leap of faith this week, one that more established artists might laugh at but was kind of a big deal to me — I dropped off some fabric postcards to our local art gallery shop to be juried for possible sale. They can be mailed in clear envelopes with first-class postage.

Origami crane fabric postcard, all cotton, backed with watercolor paper and finished with Terry Grant’s edge technique

I really like doing origami with fabric. This is a crane I came up with a few years ago, making a wall hanging for friends for the wedding, and experimenting on a (not done yet) baby quilt for the same couple (baby is almost three now, I know…). I omit a couple of folds to keep the bulk down, and it gives it a bit of a unique look. I’d like to be able to make them smaller, but the corners get tricky and I haven’t found a starch I like.

Origami fish fabric postcard, all cotton, with delica beads, backed with watercolor paper and finished with Terry Grant’s edge technique

This is my favorite of these three. The pattern lends itself well to fabric, since all of the raw edges end up folded under. The points are still tricky.

Origami butterfly fabric postcard, all cotton, with delica beads, backed with watercolor paper and finished with Terry Grant’s edge technique

I had to manipulate this photo to get the colors to come out right — the red is the same fabric as in the crane above. There are three long raw edges on this one, so I do wonder how they’ll hold up even with the close quilting/applique. The beads also serve to anchor key folds down onto the backing. I’ll be doing some more experimenting with this pattern, or looking for a better one.

I need to find a faster edge finish, to keep the price point down on these. I love the way this looks, but it’s two passes with a very short stitch length, which takes up a lot of thread and is time consuming.

After a whirlwind of sewing and then traveling to something like nine states and visiting almost everyone in the world I could possibly be related to, I bring you the finished flower girl dress:

Silk dupioni flower girl dress, from the Pascal pattern printed in the Issue 114 - September/October 2007 of Sew Beautiful magazine, with hand embroidery and beading, modeled by the lovely Nora.

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I started with a sample piece of the silk dupioni fabric, backed with Floriani Dream Weave interfacing to keep the silk from shredding, and a variety of threads, beads, and stitches (slightly out of focus, but you get the idea):

and decided that the feathered buttonhole “vine” with french knots and pearl beads was the prettiest for a flower girl. The other bands are just too dense, particularly with the ribbon that will be used as a sash on the dress, though I’ll remember them for other projects.

So here’s just the vine for the neckline, before the knots, done with two strands of DMC floss:

(And yes, that is my lap, on the couch, in front of the TV — the best way to do handwork without noticing quite as much how long it can take!)

And with the french knots, but before the beads, done with a pale green Caron silk:

And here is the bodice almost completely embroidered — it just needs the pearl beads on the bottom line. The sash will go below that, which is a one-sided feathered buttonhole stitch. I’ll use the same pattern on the back, on either side of the button placket.

The sheen of the silk really makes it difficult to photograph. I’ll have to take it outside for a truer representation of the colors.

My hands are hurting this morning, from keeping the stitches so uniform and tying all of those knots. When I was younger, doing cross-stitch kits, I just couldn’t figure out how to do french knots, but now I really like them.

I like the way this is turning out; I think it’s better this way than it would have been smocked.

At long last, after seeking fabric and notions all over the state and the internet, I have spent the last two days working in earnest on a beautiful dress for Nora to wear as she plays the role of flower girl for her uncle’s wedding in a few weeks.

I’m using the Pascal/Alice Blue Gown pattern from Sew Beautiful (second cover down on that page), but without the smocking. It was my intention to smock the bodice, but then I realized what a pain hand-pleating the fabric really is and decided to embroider it instead.

The fabric is silk dupioni, in a sage green color. It looks alternately gray or gold depending on the light and presence of a flash, but outside in the sunshine is definitely green.

Here’s the bodice marked up with tailor tacks for embroidering:

And two perfectly piped sleeves that I finished today with the help of a Threads magazine article on how to get your piping to stay flat (lots of hand basting, but worth it!):

And here is the back of the gown, folded in half — the amount of skirt you can see is only a quarter of the fullness. You can vaguely see a picture of the back of the original dress in the magazine on the table.

There will be embroidery on the back bodice as well. More on that process as it progresses this week.

The goal is to get it done to the point of handwork finishing this week, as we’ll be spending next week with my parents for some much-needed rest and relaxation.