Butterflies and Coneflowers

This is a small exercise in thread sketching, and in fabric painting. The fabric was created by spraying purple fabric paint onto white cotton fabric over a stencil of a butterfly. When I lifted up the stencil I noticed that it was covered with paint, so I turned it over and used it as a stamp, which created the darker outline of the butterfly in the upper-left corner. I added a touch more colour with a fine spray of gold shimmer paint. This piece is about 9 inches square.

butterflies and coneflowers fabric

I wasn’t sure at first what I wanted to do with this, but I was flipping through the April/May 2011 issue of Quilting Arts magazine and read the article on stitched sketches by Jane LaFazio (page 30). That inspired me to try some thread sketching on this piece. I didn’t really follow the method used in the article, but the idea was the same – to transfer a sketch of an image onto my fabric. I also decided to do my thread sketching in two layers. The first layer was inspired by the outline of the butterfly stencil. I stitched around the images of the butterflies that were printed on the fabric, and then I repeated some of the same motif in the upper right and lower left corners in order to have an even base of quilting. I used a pale purple shade of cotton thread that blended into the background fabric.

first layer of quilting - butterflies

Next, I found a photo of some purple coneflowers that I had taken last summer. I often take pictures of the flowers in my garden – they are so pretty and inspiring. Purple coneflowers seemed like a good choice, as they attract many butterflies. I printed the photo in draft quality on normal paper at 5”x7” size and traced the outline of the flowers onto a piece of Golden Threads paper. You can see that I traced a repeat of one of the flowers into the upper right corner to fill the empty space there.

tracing coneflowers photo

Then I placed the paper on my fabric for stitching. I chose a dark purple cotton quilting thread for this layer of the thread sketching, because I wanted it to look like a pencil sketch, while keeping with the monochromatic colour scheme.

coneflowers tracing on golden threads

Here the stitching is finished.

coneflowers stitched

Once the paper has been removed, the sketching is finished. I love the way the flowers look a little rough, the way a pencil sketch would look.

coneflowers thread sketching

As a final touch, I added a few matte finish seed beads to some of the coneflowers. I tried to match the colours of the beads to the fabric because I wanted to add texture without adding additional colour or sparkle.

Here is the finished piece. The finished size is 8 inches by 8 inches. I haven’t decided yet what edge finish to use on it, so it’s still raw edged. I enjoyed this technique and am very happy with the results. I like the layered effect, and the way that the butterflies are revealed only when one looks closely. Sketching with thread is a fun way to play with thread and a sewing machine.

Butterflies and coneflowers finished


Free-Motion Quilting Tips

I just finished stitching the second of the big feathers on my On the Road to Minnesota quilt. Now I am taking a break, and I decided to write down a few things I’ve figured out while working on this quilt. I thought if I wrote them down, I might actually remember them next time.

Golden Threads tips:

  1. When drawing an original symmetrical design, draw half of it, then fold the paper in half along the edge of the design, turn over, and trace the first half onto the second half of the paper. You now have a perfectly matching mirror image. If desired, unfold the paper, and retrace the whole pattern onto a new sheet.
  2. Visibility of the lines of the pattern is very important when stitching.
  3. Marking the pattern with pencil works okay, but the pencil rubs off while stitching, which means dirty fingers and maybe dirty fabric. Pencil is also not that dark.
  4. Ball-point pen makes nice dark, clear marks, but can sometimes get blotchy. I think this might be because of how slippery the surface of the paper is. (Or maybe all of my ball-point pens are full of fail.)
  5. Roller-ball pens make nice, clear marks, too. The ink takes a while to dry, and will smudge when wet. I had to either carefully plan to trace from top to bottom, to avoid smudging the lines, or wait at times for lines to dry before continuing.
  6. Permanent marker (Sharpie) makes a nice, clear mark, dries quickly and doesn’t bleed through the paper. The odour of the marker bothers me after a while, though.
  7. Tracing the pattern is easier with good lighting, and table and chair set at comfortable heights. It also helps to put white paper under the master copy of the pattern if it is on Golden Threads paper or another tracing paper.
  8. I have printed on Golden Threads paper with an ink-jet printer. I cut the paper to a size supported by my printer. A light press with a dry iron on very low heat flattened the paper. I found I could only feed through one page at a time, and from an otherwise empty paper tray. The pages tend to stick together, and the feed is sometimes poor because the paper is slippery. Ink-jet printer ink tends to flake off with while sewing. I’ve used this method when using Golden Threads paper as a foundation for foundation paper piecing. Try it at your own risk.
  9. Even on dark fabric, fine black lines show up well, thanks to the light colour of the paper.
  10. Low-tack masking tape is handy to tape the page onto the master copy of the pattern.
  11. It’s a good idea to mark some placement marks on the pattern, to help line it up on the quilt before pinning.
  12. Ironing the paper on very low heat with no steam is a good way to get rid of the paper’s curl from being rolled up.
  13. Smaller stitches make the paper easier to remove after quilting.
  14. Fine-tipped tweezers are handy for removing tiny bits of paper stuck in stitches.
  15. Golden Threads paper is a great way to mark a quilt after it has already been sandwiched.

Free-motion quilting tips:

  1. A smooth work surface is very helpful to prevent the quilt from pulling or catching while quilting. I have a Sew Slip sheet on the extension table of my machine, and it works very well for me.
  2. It doesn’t take much to cause pulling or catching,  either of which make it surprisingly hard to quilt a smooth, even line. Adjust hand positions frequently, and adjust the quilt at the same time. Make sure it isn’t falling off the table edge, or catching on the bed of the machine or the front (or back) edge of the table or extension table.
  3. When stopping, keep the quilt still with both hands until the needle has stopped moving. Stop with the needle in the down position. I’ve noticed that I sometimes don’t get my foot all the way off the pedal quickly, and the machine takes another stitch or two when I am stopping. Letting go of the quilt at that moment can make it pull away and those extra stitches end up jumping away from the pattern line.
  4. Visibility helps – good lighting, a good seating height, clear lines on the pattern (if using one), magnifier glasses if needed – every little bit helps.
  5. Sit with a good body position – table and chair at the proper height, hands in comfortable positions on the machine’s bed. When stopping to adjust hands and quilt, also adjust shoulders back to where they belong – away from the ears.
  6. Don’t forget to breathe.
  7. Find a stitching speed that feels right for you and for the pattern. A complex pattern will require a slower speed. Too fast and you will feel panicked and have trouble following the pattern. Too slow can make it harder to get even stitches and smooth curves. Try different speeds to find what works for you. Ignore helpful people who tell you to go fast, fast, fast.
  8. Stitching samples in the thread (top and bottom) and fabric in the quilt is very valuable in getting the right thread tension. Stitch the sample with the same pattern you’ll use in the quilt – tension can vary between tight curves and straight lines.
  9. Keep a close eye on the amount of thread in the bobbin. Nothing is more frustrating than getting half-way through a complex pattern to find that you ran out way back there, three fronds ago.
  10. Keep an eye on the top thread, too. Watch for splits that foreshadow thread breakage. Don’t ignore odd noises and rough stitching or pulling. Those are signs something is wrong, and it won’t go away until it’s fixed. Honest.
  11. Top and bobbin threads should be about the same weight. They don’t have to be the same type or colour.
  12. Backing the quilt with busy fabric hides a lot of imperfections in the quilting. So does using matching thread. So does thinner thread. Unless you are making a quilt for entry to a juried show, little mistakes don’t matter.
  13. Finished is more important than perfect. (Oh, maybe that should be Tip Number 1?)

On the Road to Minnesota, Part 3

I’ve finally started to stitch the feather pattern onto the actual quilt. I’m using the Golden Threads quilting paper, with my feather pattern traced on using regular pencil. Here is the pattern pinned in place on the sashing strip.

pattern pinned on quilt

Here it is stitched, with the paper still in place.

stitched feather with paper pattern

The paper is removed to reveal the stitched feather pattern.

stitched feather with paper removed

And here is a close-up of the stitching. I’m pretty happy with how it turned out.

close-up of feather

I’ve now finished stitching two of the sashing strips, and have 5 more to go. Then I have to design a modified version of the feather for the larger outer sashing strips.

Pattern: On the Road to Minnesota, by Border Creek Station

See also:

On the Road to Minnesota

On the Road to Minnesota, Part 2.