Month: April 2021

Topsy Turvy: The Wonders of Thick Thread: Bobbin Work Part Two

| ellenanneeddy
Thick metallic thread and pearl cotton bobbin work make up the heron

Do you like instant gratification? But of course! Using thick thread in the bobbin is showy, exciting and quick as machine embroidery goes. It’s one of my favorite techniques.

Bobbin work is the only way I know to free motion with thick threads. I’m defining thick threads as #3-8 threads. What those numbers mean is that if you put 8 threads side by side, they would make an inch. This is what thread count means.

adjusting a bobbin case

Thick threads can’t fit through the needle. They do fit easily in an adjusted or bypassed bobbin case. How do you know what kind of machine you have. If you open up your bobbin and it’s in a little silver housing that comes out of the machine, that’s a bobbin case. For thick thread, you loosen the bobbin case by turning the screw about 3/4 of a turn to the left. It’s best to have a separate bobbin case for the purposes. Bobbin cases get old, so it’s never a bad idea to buy a fresh one and make your new bobbin case your true bobbin case. Mark the old one with nail polish, and keep it just for thick thread.

If your bobbin just drops into a housing in your machine, it can be bypassed. You simply don’t put it into tension. No need to adjust anything.

I tend to keep extra bobbins to hold and store thread I’ve wound off. One bobbin per thread. If I don’t use it for one project, I’m bound to use it for another.

Never wind a bobbin on top of thread on the bobbin. It messes terribly with your tension.

I usually stitch on a similar fabric to the background, or one that matches the color of the embroidery. Don’t fool yourself. IT WILL SHOW!

a different frog, zoned

Your image is always backwards. Think of it as a slide. You can see it through either side. I use Totally Stable as my patterns, drawn with marker. It irons on but the excess will tear away.

Stitching in a creature is like coloring with different crayons. I pick black as my outline, and then I zone my drawing. On this frog, there’s a tummy zone, a stripe zone, an eye zone, and the basic body.

I choose my darkest thread in that zone first, the color I want to be dominate. I add a shader color, usually purple, brown or a complement to the color. Then I go through a range of the color, dark to light, and add a shocker color, usually the complement right before the last lightest color.

eye colors in sliver

The eye is always done in sliver thread so it’s shiny and wet. I use black for the pupil, an iris color, and iridescent white for the spark.

Eye

Here’s a progression of stitching and thread on this frog

  • thread one green zone
  • thread two green zone
  • thread three green zone
  • thread four green zone
  • thread five green zone
  • thread one stripe zone
  • thread two striped zone
  • finished frog on background

Some basic things about thick thread bobbin work:

Only work with a straight stitch: Zigzag stitching tends to sew your piece to your needle plate and jam your machine.

When you fill in your stitching, remember that the thick thread fills up more space than the thinner thread on top. Leave a little space.

Pick a #40 weight embroidery thread for the top thread. I like polyester, for it’s strength. You should either match the color to your bobbin thread, or like the mix of them together. You will see both on the front of your piece.

New project, new needle! New day, new needle! I use #90 topstitching needles because they’re strong and have a large eye that reduces thread breakage.

Midnight Stroll

I could stitch directly into my top as well. It integrates better into the background, but it tends to distort things. If an image is under three inches square, I may well embroider right on the surface.

frog cut out and ready to go

But if it’s a big enough image, It’s better done on a separate sandwich of felt, Tear Away, Totally Stable and suitable hand dye to match. It can be appliqued onto the surface and will look like it belongs perfectly

Don’t be afraid to be upside down. Bobbin work makes the most impressive images quickly and easily.

Arse Over Teakettle: The Art of Stubborn Bobbin Work

| ellenanneeddy
Fly in the Ointment

I spent the week fighting with a sewing machine, and a thread. That’s not anything new. I spend a lot of time fighting with a sewing machine and thread.

But I have learned some sneaky tricks. And one of the best of them is bobbin work.

Why is bobbin work stubborn? Because you need to just leap in and do it. It can feel a bit weird and it takes getting used to. But it makes all kinds of stitching that’s really hard, quite doable.

frog with metallic thick thread

Bobbin work is for thick threads. Thick threads go through an adjusted bobbin case, and you stitch from behind. It’s a great technique because the thread builds up quickly and is instant gratification.

frog with thin metallic thread and zigzag stitch

But it’s also the answer for any thread that’s too fragile as well. Your thread goes through your needle 50 times before it lands in your fabric. Your thread comes off the bobbin straight into your fabric. So if you have a thick thread or a fragile thread, bobbin work is your friend. It will make you feel completely different about metallic thread, older rayon, or something with an attitude.

It’s also good because you can tie off each thread, as you finish. Since I use it to shade creatures, I use 10 or more colors at a minimum even for a small image. That’s forty poky thread ends looking up at you if you’re working from the top. No thread ends except on the back of bobbin work.

It has it’s peculiarities. All of the work is upside down, so it’s facing the other direction. That’s not hard. Your pattern is in the back and you can see everything on both sides. It does take a bit of faith about thread color, but you get a sense of that before too long.

Over the next couple weeks, I’ll be discussing several kinds of bobbin work and giving you some of the secret handshakes. It’s one of my favorite ways to work.

Here’s some facts about bobbin work.

Frog with pattern on the back

Bobbin work is done upside down. So your pattern faces the opposite direction. Your stitching goes all the way through, and your pattern is in the back so you can always see where you’re going.

Your top thread should either match the bobbin thread or be something that blends with it. Because you will always see both threads on the right side. In bobbin work, the thin thread looks like it is couching the bobbin thread. You should like what you see, either way.

Unless it’s a very small image, I usually treat bobbin work as an applique. Like all stitching it puckers up like it wants a kiss. As an applique, I can cut the distortion away with the background

I use a sandwich of Totally Stable with my pattern drawn on it, Stitch and Tear, light weight felt, and hand dye as my surface for bobbin work. It makes a stable applique can is easy to cut on and stitch down.

Zoned frog

I zone my colors on my pattern so I know where the colors go generally. After that, I set up a range of colors for that zone and progress through the space with them. The zones on the frog are the spots, the green body, the pastel tummy and the eyes which are always a separate zone done in sliver, a wet looking thin metallic.

Over the next several weeks we’ll discuss thick thread, thin metallic and hand dyed pearl cotton as ways to use bobbin work to create amazing creatures.

Setting Up Shimmer: Moving Color Across the Quilt

| ellenanneeddy
Stippling with flecked metallic

The natural world is full of shimmer. Shimmer is about the change of color, and the change of light. The nature of nature is variance.

How can we create that? How do we build a world inside our art? How do we create the illusion of shimmer and light?

Here are several good ways to accomplish that.

Owl at Sunset process shots.

Hand dyed fabric itself establishes the play of color that nature features. But it’s a soft finish and a soft shimmer. It gives the background of shifting color, and a good glow, but it doesn’t catch the light.

Another way is to put sheers in layers over the the hand dye. It changes the color without losing the fabric beneath it. It shifts the shade underneath and adds texture.

I know some people don’t like the idea of the stipple. But stippling creates more texture and plays against the surface of the quilt. Particularly if your threads shine.

I’ve always found it helpful to separate the kinds of threads I use for field and ground. Different threads offer difference in the shine of the surface. Having a different shine for water, for air, for sunlight, and for your creatures helps your eye to sort those out from each other.

There are three kinds of metallic thread that offer different levels of shine.

Madeira Supertwist Metallic Thread

Fish done in flecked metallic

The soft sheen of Madeira Supertwist gives the fish a scale like sheen that is totally different from either the sliver or the thick metallic threads. That sheen separates the fish from the background, the field from the ground.

Sliver like threads
Stippling with sliver

Sliver, Glimmer, and other flat metallic threads are the most shiny. They look like Christmas tinsel. They come in a myriad of colors, particularly if you are willing to mix different brands. There’s no problem doing that.

YLI Candlelight, Madeira Glamour and Superior Razzle Dazzle are # 8 weight heavier metallic threads. Again, the company brands can be easily used together. These threads have a thick chunky look that is strong and works with rhythmic stitching as beautiful running water. Stitching through a range of color accentuates the light and shadow within the piece. It’s not quite as shiny as sliver, but it makes a strong statement.

You can see the separation between the air and the water in the changes between sliver and thick metallic.

Both sliver threads and thick threads should be used in the bobbin only.

I use all of these threads to make light shimmer across my quilt. And I choose a full range of colors to pull the eye across the surface. And to make the eye track the differences between field and ground by the amount of shine in the threads.

After the Disaster: When It All Goes Wrong

| ellenanneeddy

I like to think I know what I’m doing in my studio. I do know better.

Every so often something happens that just can’t be helped. Sometimes it ruins a perfectly good piece. Sometimes it transforms it.

I’ve been working on this piece for over six months. It’s taken time because it’s so large. Smaller pieces are easy to see, easy to feel secure about, easy to finish. Larger pieces take time.

I was having a problem with the moon. The Angelina fiber hadn’t fused well, and I was having trouble stitching it down. So I laid a corn starch stabilizer over it and stitched it down. It was fine until I poured water on it to dissolve the stabilizer.

I hung it up to dry. I didn’t realized what had happened until I had looked at it for some while the next day. There’s really only one Procion dye that bleeds after it’s washed out. Fuchsia is the stuck pig of the dye world. Dyes mixed with fuchsia also can bleed. Almost everything else is dye fast after it’s washed out. But there was fuchsia in the background.

original owl
owl with bleed

It bled. It bled into the owl stitching itself. I bled too. Then I figured it out. The sunset was now in the owl’s face and wings.

I’ve always argued that art has a life of it’s own. It lives past the artist. It is shown places the artist can’t go, does things an artist can’t do. And it has it’s own problems.

Sometimes life changes a piece. It’s has it’s own life.

I’ve decided that the bleeding is like sunset, coloring the stitching as light colors life. Is it what I planned. No. It’s what happened. But I suspect it’s a good thing. And it’s simply what has happened. It’s not finished yet. But it has been changed.

I considered telling no one. But I’ve always been honest about my work, warts and all. I actually think I’m pleased with it.