I remember the first time I saw a heron land on a pond. I watched it fold itself out of flight and land floating, tidied. You couldn’t imagine from it’s folded form, the shadow of it coming into land. Fierce and lovely, Of course I fell in love.
Eerie Street, Chicago
But that was not my first love. When scientists started to declare that birds were dinosaurs, I roared up in agreement. The only thing as fierce as a heron is a dinosaur! And the resemblance is striking. I’m a believer.
Lady Blue
Part of why I celebrate dinosaurs, and herons, and their survivors is that I see myself as a survivor. We all are. Living means that, so far, you’ve survived life. And time gives us a space to unpack that and understand a little the gifts we’ve been given.
Fall Stream
They aren’t always pretty. Survival can be a messy business. But it reminds me that I have strength and swiftness, if not in my body in my mind. I can be lovely even in my fierceness, if I choose to use it well.
Daylily Pond
And if I am a dinosaur of sorts, my survival, my ability to go on is strength in itself. I am grateful.
Where the Heart is
And I’m going to need it. I’m probably having my right knee replaced again, due to an infection. If I can’t walk, I should be able to fly. I’m related to the Pteranodons, thru my mother’s side. I can survive anything.
Worried about getting someone the wrong quilt? I always exchange quilts for owners who want to trade up, or new owners who would like to make a different selection. Just let me know.
This is the story of two quilts that got made. I made the components of both of them at theame time, so they aren’t the same quilt, but their process is connected.
A large part of how quilts get made is that there are components. They’re made separately so they can go anywhere, and they do.
I had two pieces of fabric, left over from my teaching days, They both had that glowing pink red thing going on. I had fallen in love with the little lacy praying mantises and I wanted to put it into one of those pieces. And I always love sapsucker bugs.
But which piece? They were both beautiful. They were already backed and ready to be worked on for design. As I often do, I worked as if it could be either. I made my bug components.
Did I make extras? I always do! It’s like left overs in the kitchen. It’s something yummy you don’t have to work on now, because you have it right there, in your kitchen, ready to eat. I think I made 6 sapsucker bugs, thinking they would all go on one quilt. That didn’t work out that way, for which I am glad.
But why bugs? I often have people who want to know why I do nature quilts. Actually, technically I don’t, always. I’m never a slave to reality. Why are there all those bugs? There’s a couple of answers to those questions, but people aren’t always comfortable with those answers.
Gaham Wilson wrote an hysterical book of comics called I Paint What I See. For all the viewer can see there’s nothing there. But the artist sees what they see. What else can they paint?
It’s true. Every artist paints what they see. All of my life I’ve seen people as animals. Often as bugs. Not in a negative way. I love my bugs. But it’s what I see. I quilt what I see.
The other uncomfortable truth is that I am in no way in charge of my art. It demands things of me and I try to comply. But once I understand something, I can see that the quilt is about something that is about to happen in my life. They are predictive.
So when I found myself wrangling with the bank later that week, I thought of my very confident praying mantis, standing tall among the flowers, able to take on all comers. That’s the other uncomfortable truth. My quilts tell me who I am, what is coming, and that I am brave enough.
Then again, as an artist, am I in charge of people’s comfort? Art changes how we see things. If we are faithful to our work, art changes our perceptions of ourselves. I’m not about to do sad-eye puppy quilts, so everyone will have to get used to that.
Whenever we see a living creature, we want to see its eyes. We speak of eyes as windows to the soul. But they are also the focus of the face, the place our eyes search for first.
So how to we make eyes stand out? It turns out all those Visine adds are right. Shiny wet eyes immediately command our attention. So, if we want our eyes to show off, we want them to shine. Here’s some easy ways to do that.
Metallic threads come in several different forms. There are wrapped and twisted threads. And then there is a flat metallic thread that is as shiny as Christmas tinsel. Sulky Sliver, and Superior Glimmer are good examples.
These threads really shine! They’re not easy necessarily to use. I usually stitch them from the back like bobbin work. A zigzag garnet stitch makes a beautiful wet shiny eye. Pick a color for the iris, add black for the pupil and an iridescent white makes an electric eye spark.
Of course that’s not the only way. Shiny lame and brocade can make a great eye too. These don’t have the iridescent spark.
These do.
Another thread that makes an exciting eye is Madiera’s bug body. This black and metallic twisted thread stitches up to look like beading. The turquoise iris rim here is stitched from that.
And finally, there’s always beads. Nothing wrong with that.
We think of free motion as a straight stitch. But free motion zigzag stitch offers us an ability to detail and shape an applique as if we were shading it with a pencil. If we use black thread, it looks exactly like a shaded sketch.
Simple shapes cut out of oriental brocade and fused to black felt with Steam a Seam 2 make the form of this ladybug.
I’m using some simple zigzag directional stitching to shape the outlines, shadings and the smoothing between them. Straight through creates a wide zigzag, like an applique stitch. Stitching on a 45 degree angle gives me an outline. Moving side to side creates a shading stitch.
I’ve outlined the head and created a segment through the back to create depth.
Shading along the edges and smoothing gives the image a rounded shaped appearance.
Instead of drawing spots on the red brocade, I outlined the segments in black, shaded them and smoothed them. Again, it makes a nicely plump ladybug.
She’s all embroidered here.
Here’s what the back looks like. It really does make a pencil sketch.
Number 40 weight black polyester thread does all the shading , just like a pencil.
Here are three of these bugs, in a possible background. Endless shade and shadow, just with black thread and a zigzag stitch.
I started out as a traditional quilter. And for years I bound all my quilts with bias tape. But as my work became more organic, it felt terribly strange to put my work in a square box.
The corded buttonhole is a standard technique from couture sewing. Translated from there to the quilt world, it gives us a way to finish both quilts and art clothing in a new way that’s literally out of the box. Instead of the square edges and gentle curves that are the limit of bias binding, we have the freedom to follow any shape. That means that the edge of our pieces is not defined by straight lines, but by their internal design. It also means a quilt can have an external shape that fills a wall in a much more exciting way. And because our binding is thread, we have the full range of polyester thread colors for our palette.
I prefer to do this on my Bernina because of the specific feet and the stitch quality. You can use a regular utility foot and a couching foot off another kind of machine.
We’ll be using two basic feet for our binding.
#1 foot
#3 fppt front
#3 Foot bottom
What largely counts is the thread escape on the bottom of the foot.
The #1 foot has a top groove we can use to couch down the cord. The #3 foot has a thread escape groove on the bottom for the zigzag stitching to pass through. The #3 foot is the older style buttonhole foot (without the electronic eye)that has exactly the right thread escape to accommodate the buttonhole binding .
You’ll need
#10 Crochet cotton
A quilt/ or quilted object backed, quilted and ready to bind
Polyester #30-40 weight embroidery thread the color of your choice
A#3 foot and a #1 foot
A Bernina
A rotary cutter and mat
Binding
We’ll bind our piece with a corded binding that’s basically a corded buttonhole all around the edge.
Preparing your quilt:
Stitch around the edge either with monofilament nylon or with a neutral embroidery thread so that all the layers are together
Using your rotary cutter, cleanly cut away all the extra bat and backing fabric, exactly the shape you want your quilt to be.
You don’t have to have a square. It can be any shape at all. To keep sharp 45 degree corners or points, you need to clip the tips off them.
Thread your machine top and bottom with a polyester embroidery thread that you want for the color of your binding. You can use rayon or metallic thread, but the breakage tends to make things so much more difficult.
Attaching the cord:
Set your machine on a zigzag stitch, with the needle position one position over from full right. Your stitch length should be at between the button hole setting at a # 4 width.
Position your quilt so the stitch falls just over the right hand edge of your quilt.
Start your stitching somewhere in the lower edge, not on a corner or direct curve.
Zigzag your cording all around the edge.
When you come to the end, drop your feed dogs and make several stitches to anchor the cord.
Clip your threads and cord.
Tip: If you have a quilt that is ruffling at the edge just a bit, you can pull the cord and gather in the ruffle. This will not solve severe distortion problems, but it will fix minor ones. You need to pull the cord before you change directions or turn a corner.
Covering the cord:
Your second pass should cover your cord with smooth zigzag stitching.
You’ll find certain areas may not have been included in the stitching. This will give you a chance to address that.
Set your sewing machine for the widest stitch it will give, and the densest stitch length it can handle. Put your needle position to the far right.
Use your #3 foot, with the double channel thread escape.
Position your quilt so that the stitch to the right ends over the edge of your quilt
Start at a lower edge, not on a corner or a curve.
Stitch around the edge of your quilt.
When you come to the beginning, move your needle position to the far left, set onto a straight stitch and stitch in place to anchor the stitching.
Sometimes I get enough coverage on the second pass, but that’s rare. Usually it takes a third time around. Turn the piece over. If you still have wisps sticking up through the binding, trim them as best you can, and go around another time.
Corners, curves and points:
These all take a bit of finesse. Your standard button hole stitch isn’t set up to cover them. But you can get good coverage on them by rocking your stitch over them. As you’re stitching, you can pull back just a bit from the front to make sure your stitch line covers everything. Curves may also need that assist. For corners and particularly for points stitch up to them and turn the piece at slightly different angles as you go round the edge. You can put the needle down within the point and pivot and stitch several times until you have coverage.
Tips:
A clean cut edge to your piece is always easier to cover with stitching. Use your rotary cutter and make a nice solid cut line.
Use a new topstitching #90 needle for the best stitch and for less thread breakage.
Sewers aid applied to the thread also helps with thread breakage.
Organic quilts don’t have to be stuck in a box. A corded buttonhole binding lets your quilt go over the edge.
