Bead Embroidery

The International Quilt Festival in Houston was amazing, as always. It’s so incredibly inspiring to see all of the quilts and quilt-related pieces that people have made. It was the 40th anniversary of the International Quilt Festival, and as part of the celebration they had a huge collection of red and white quilts on display.

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The classes I took there were great, too. I learned how to do reverse appliqué by machine, how to work in a single colour to make small collage quilts, and how to sew with silk. I also got some great tips on getting more productive time in my sewing room.

Since returning home, I have finally finished a little beading sampler that I started in a bead embroidery class in Houston 4 years ago. The class was taught by Nancy Eha, and was fun and informative. I came home with a partially completed sampler of beading stitches and techniques.

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I picked this up again last April, and started adding more beads. I have Nancy’s book, Bead Creative Art Quilts, to refer to, so I tried out a few more of the stitches and ideas in the book.

One of the techniques I learned in class was how to use bead embroidery to attach a cabochon to fabric. A cabochon is a stone with one flat side and no holes, so it has to be attached with plain or beaded stitching that circles the perimeter and tightens in as it is raised. I used this blue glass cab as the centre of a flower.

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The squiggle in the middle of the sampler is a piece of rayon cord covered with beads. The cording is stitched to the fabric with a running stitch. Then the cord is covered with beads (page 27 in Nancy’s book). I was adding them in a fairly random fashion.

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I used a mixture of seed beads, bugle beads, and square beads.

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We learned a number of ways to create dimension by stacking beads on top of each other. This wavy fence is made from bugle beads topped with loops of seed beads. They are attached to each other by having adjacent circles share a bead.

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Here is a flower stitched with a grid of bugle beads and some seed beads. This photo also shows a few of the other bits of beading that we learned in class.

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I stitched a snowflake using seed beads and thread (page 67) and sewed it onto the sampler.

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I thought that the beaded cord looked like a flower stem, so I stitched a few little curlicues branching off of it.

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Of course, the flower stem needed a flower. I didn’t have much luck trying to sew one free-hand, so I drew one out on a piece of Golden Threads paper, pinned it to the fabric, and stitched over that.

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It worked pretty well, although I found the paper a little bit hard to remove once the beading was finished.

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At this point, I decided that there was enough beading, but there was some empty space that needed something in it.

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I recently bought a couple of books on embroidery, one of which is The Stitches of Creative Embroidery by Jacqueline Enthoven. I thought that this piece was a great chance to try out a few stitches. There’s a whole section in the book on the chain stitch and different ways to use it (starting on page 121). This little fern is made from the basic chain stitch. A few straight stitches and French knots fill in the swirls.

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I used chain stitch to surround the petals of my large beaded flower, too.

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A single chain stitch (or Lazy Daisy stitch) makes nice tulips (page 127), as well as leaves.

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Some single chain stitches in lines of feather stitch makes grass (page 108).

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All of the bead embroidery was done on fabric basted to a piece of batting. I added a backing fabric after the beading was finished. To hold the three layers together I quilted the sampler with curved lines of long running stitches using two strands of embroidery floss. I marked the lines first with a chalk pencil. When the quilting was finished, I trimmed off the excess backing and batting.

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I decided to try a new-to-me method of finishing the edges of this piece. A long time ago I downloaded a free e-book from the Quilting Daily website that included a tutorial on using a facing to finish the edges of an art quilt (located here). The facing folds to the back of the quilt, with mitred corners and hand stitching along the edges to hold it down.

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And at last, here is the finished sampler:

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(as usual, click on the photos to enlarge them)

Little Red Fish

I’m going to the International Quilt Festival in Houston again this fall, and I’ve signed up for a couple of classes there. Going through this year’s class listings, I started thinking about the classes I’ve taken there in the past. I have some partly finished projects from those classes, and it seems like a good idea to dig those out and finish them. I have a bad habit of bringing things home from classes and putting them away, adding them to the stack of UFOs hidden in the closet.

This one is from two years ago. I took a class with Judith Baker Montano to learn how to make an under-the-sea piece using fabric and embroidery and various other embellishments. I’d done quite a lot there, but had not had enough time to finish it in class. I got out the partly finished piece and all of the materials from the class kit. Most of the background was done, and I decided that all I really needed to do to finish it was to add some embroidery and beading to the foreground.

This picture shows the work in progress, with some newly added embroidery. I’m not very experienced at embroidery, which made it hard to decide what to do. I followed some of the stitches in Judith Baker Montano’s book, Elegant Stitches. I definitely want to get more practice with embroidery, so that I have some experience to draw on when working on something like this.

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Originally the piece was supposed to end up being 7” by 10”, but I decided I’d make it smaller so it could become a page in my sketchbook of small quilts. I used a piece of card stock with a window cut into it to see how it would look trimmed down. 

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At this stage, it looked almost finished to me, but I thought it needed a focal point, so I added a bigger red fish to the foreground. I also added a few beads to the orange brain coral, and a bit more ribbon embroidery. Here’s a close-up of it, after I trimmed off some of the excess canvas.

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To finish the embroidered piece, I first hand-basted the edges through all of the layers of fabric. Then I used a small zigzag stitch to attach a length of textured yarn all the way around.

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Here it is, all ready to mount on a quilted background.

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The final task was to make the quilted 8” by 8” page to mount it on. I chose some batik fabric for the front that I thought looked a bit watery.

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For the back, I used a piece of batik that had shells and other sea critters on it. I layered the two fabrics with batting in between, and quilted around the shells, filling the spaces in between with some free-motion doodles. This is a fun way to get in some free-motion practice. Next, I used a couple of rounds of zigzag stitching to finish off the edges.

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I mounted the embroidery piece on the quilted page with a straight line of machine stitching, and finished off by adding the grommets so I could add it to my sketchbook. Here it is, all finished.

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I have a couple more class pieces I’d like to finish off before the end of October rolls around. I’ll post them here when they’re done.

Thread Painting a Pear

While I’m busy working on the Crooked Rail Fence quilts, I thought I’d write a post about a little thread painting piece I did a while ago. It’s a pear – a lovely shape to work with, with gentle curves and rounded contours. This was something I did for the art quilting classes I took in 2011, when I did a number of small pieces to experiment with different techniques.

To begin, I drew the rough outline of a pear shape on a piece of thick Vilene interfacing. Dense stitching requires a heavy, stable backing in order to stay flat. I used a variety of thread colours, all rayon, to stitch the pear and the background. Using free-motion stitching, with the sewing machine’s feed dogs down and an open-toed presser foot, I started by stitching the pear in horizontal straight stitches, and then switched to vertical ones. That helped to evenly distribute the direction of pull on the stabilizer created by the stitching. The purple background was stitched in free-motion as well, but I set the stitch selection to a wide zig-zag stitch, and worked primarily up and down to fill in the space.

This photo shows the stitching in progress.

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In this next photo, I’ve added more stitching, and more colours to add depth to the background, and shading to the pear.

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When I was happy with the stitching, I trimmed the excess interfacing off, and finished the edges with a satin stitch in varying shades of purple.

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When I went searching for a backing fabric, I found one that I had painted several years earlier with Colour Vie fabric paint in exactly the right colours. The pattern in the paint was created by putting a wood trivet under the fabric and scraping excess paint off with a flat edge scraper. It’s fun to see something come together like this without advanced planning. (It also validates my habit of saving all of those bits and pieces in case they might come in handy one day!)

I quilted the background by stitching around the petals of the imprinted flowers.

thread painting of pear mounted on background

To finish it off, I used satin stitch again in a coordinating rayon thread, and inserted grommets so that I could add it to my little book of quilt art samples. The finished size of this project is 8 inches square.

thread painting of pear finished