Hard edged applique

Fantasy Flowers: Celebrating Sheer Wonders

| ellenanneeddy

I’ve never gotten over sheers. As I child, I couldn’t imagine how I could ever wear them. outside They required a life I couldn’t imagine. Or really want. Someone who sat politely in a clean room and was polite to incredibly stuffy people, who made a life of being “beautiful”. It never appealed. But organza! And sparkle fabric! And shot sheers? I was mesmerized.

When I started working at Vogue Fabric in Evanston, I was a quilter and a cotton girl. It was some while before I thought about what would polyester sheers look like on a quilt. But they were pretty. I think I saw Ann Fahl use some tulle on a quilt as shadows. It was eye-opening.

Then I got to thinking about the things that really were see-through. Mist, water, air, clouds, and of course, flowers. Yes you can applique sheers. They’re perfect for direct applique with fusibles.

I’ve been making flowers with sheers for a while. The technique is fused sheers on felt with a lot of free-motion zigzag stitching. It’s not hard. It is time consuming, but you have all the colors of thread for your crayolas. And it’s pretty.

The Sandwich

The surface you stitch on is the sandwich. For this technique I use a layer of Stitch-and -Tear, a layer of felt, and sheers and lace backed with Steam-a-Seam 2, I used to put in a layer of hand dyed fabric either to match the sheer or the background, but I’ve found it unnecessary if I’ve chosen my felt well. The color of the felt will naturally show through. That tends to accentuate the color of the flowers.

Working on a separate sandwich means I don’t have to worry about distortion.

Zigzag stitching always pulls up and distorts the piece. No matter how much it bumples up, I can cut the distortion away at the edge of my stitching and it will be flat enough.

The stitching on them is free motion zigzag gone wild. And the shading is made to make each petal individual and each flower its own star. The color of the flower is largely defined by the sheer and the felt behind it. But the shading of the petals is all threadwork.

For more information about making flowers from sheers, see

Making Coneflowers in the Snow.

I’ll be teaching the Fantasy Flower class for The Peoria Art Guild, Saturday September 16th from 9-12. Sign up now! 309 637 2787 

Peoria Art Guild 

Natural Threads Ellen Anne Eddy Show September 1-28

Peoria Art Guild, 203 Harrison St, Peoria, IL, 61602, 309 637 2787 

Hours: Monday 9-4, Tuesday 9-6:30, Wednesday 9-6:30, Thursday 9-6:30, Friday 9-4 Saturday 9-2, Sunday CLOSED

what’s Underneath: How Backgrounds Shade Embroidery

| ellenanneeddy

Like most little girls, I had a pink bedroom. Unlike most other girls, mine was seafood bisque pink with brown. Needless to say, I’m hesitant about using pink. I certainly don’t wear it..

But in spite of my feelings about pink, I know better than to dismiss a color from the color wheel. They’re all in relationship with each other. It’s like putting up with weird Uncle Fred because you really like his wife Ethel. They are deeply connected and you get the one when you choose the other.

And some things are just unabashedly pink. Like roseated spoonbills. So here we are.

She’s a nesting bird, and I loved her pink and brownish background. You can push past your color preferences when you try,

These flowers were mostly white sheers and lace, stitched over in pinks, cream, and whites. The white glowa behind and the thread gives a pink blush. To my mind, they register as white flowers but the shadows echo the burgundy background. It’s a delicate look.

I haven’t done lady slippers for a while. And I wanted a white creeping vine around the outside. But you can’t make something just white. It has no dimension. So this time I used white sheers to form the flowers, but I pulled in other colors to shade them. Because the background is fuchsia, I went for soft pink shading for the white flowers. For the lady slippers, I went into brighter pinks and burgundies, with the white shining through just a bit.

Now, what makes the color of a flower? Or any other thread work? Is it the thread? Or are there other factors.

No matter how much you stitch over something you always see the background. Always. Usually I am for a background color that accentuates the threadwork.

What happens if it doesn’t blend or match? It glows from beneath. I’ve started with iridescent white organza to create an inner glow for the lady slippers.

I stitched from both sides, leaving just a bit of plain iridescent organza in the center to round out the flower. The iridescent background creates an inner glow and a subtle pink.

Here I chose pink sheers and stitched over them with various pink/apricot threads. The effect is vibrant and full of color.

The background I stitch over is as much a part of the color as the threadwork. The differences are subtle but very cool. The combination of light and color creates dimensional blooms that glow.

Time is Spiral

| ellenanneeddy

This is a special week for me. After 10 years, I’m teaching in a guild again. I’ll be lecturing at Gems of the Prairie Wednesday, May 3rd, and teaching the class The Stitch Vocabulary Book on May 4th. The class is full, but I’m told the guild welcomes non-members for the lecture. You are all very welcome to come!

It’s my developmental lecture.: How I became an artist. That’s a misnomer by the way. We are artists by the way of being human. It’s how I stumbled into my own art, and where it has taken me.

Every year I try to do something I’ve never done before. for my birthday. This year, I’m teaching a lecture and class, after a ten-year hiatus.

And on May 5th, I turn 70. I’ve always dreaded that. It sounds so old. Yet here we are. And if you’re a contemporary, so are you. As someone quite wise said to me, “If you made it, you celebrate it.” I intend to.

My life has always been a bit upside down. I’m too dyslexic to do things in a rational linear order. I started doing my art in my 20s. I married at 62. I borrowed other people’s children, although I always gave them back. And I had a lot of physical limits. 10 years ago, I pretty much stopped doing art and wrote books instead. And then Don gave me his old house for a studio. And my art flared up like a forest fire. Only a bit less destructive. It was back.

Making art is an expression of vision. Teaching is the sharing of technique. They really aren’t very similar. But they balance each other on the see-saw for good art is always bound by technique, and the ability to share technique extends everyone’s ability to share vision.

Thread Magic Stitch Vocabulary Book

In prepping for class, I’ve done some things I really haven’t done for a while. I wrote and published a new classroom book for the class. Classroom books are all about technique, and this one is chocked full of different ways to use free motion: zigzag stitching, straight stitching, garnet stitch, hard edge applique, soft edge applique and bobbin work, with extra chapters on silk flowers, globbing and Angelina fiber. Bookmaking is a skill. It was nice to come back to that again.

You’ll find the Thread Magic Stitch Vocabulary Book on Amazon in both Kindle and hard copy.

And I’ve brushed up that lecture. It was shocking to realize how much my technique had changed in three years. The revised lecture needed to cover that. My stabilizer techniques, my drawing techniques, and my stitching techniques are massively different.

To celebrate the class, I’ve put quilts on sale. I’ll have them at lecture and class but you can also purchase them on my Etsy site at www.etsy.com/shop/EllenAnneEddy

What was more shocking, was that I had enough quilts to do a full trunk show out of that three years of work, with no older work included. Old work is fun for a lecture, but I think my new work is much more exciting. Yes. I will let you touch them. It’s astonishing what gets done if you are doing it daily.\

My point is that life isn’t linear. It’s a spiral, just like time in a garden. It doesn’t start at one place and just go to another. It cycles, it stalls, it spins out, It shoots up. Flares down. But even when things stop, they come back again in a different form at a different time in a different way. I don’t think I need a thing for this birthday, except, note to Don, some new books. The journey is the gift.

You are so welcome to come to my lecture. for Gems of the Prairie. It’s at St Paul Lutheran Church 1427 W Lake Avenue, Peoria, IL, United States, May 3rd, at 6:30 PM. I’m bringing piles of fabric, books and hand-dyed threads so people can play with the toys I use.

All time is a spiral. Wait long enough and things lost come back in their own way and time. I am grateful.

The Thread MAgic Stitch Vocabulary Book is Available in Kindle!

| ellenanneeddy

The Thread Magic Stitch Vocabulary Book went up yesterday on Kindle and is now available! I’ve been sharing my chapters with you so you can get a taste. This is the classroom book that shows you most of the technique

es I use for my work.

I will be teaching the class, Thread Magic Stitch Vocabulary Book for the Gems of the Praire Guild in Peoria on May 4th with a lecture on May 3rd.

This is my first guild gig in about 10 years. There are a lot of reasons for that, and I don’t know that I’m back to a gig I have to travel for yet. But I am so excited to be back in a classroom, and I’ve found there are so many techniques that have changed or modified over that period of time. And so many more things I can do with those techniques..

So I did this booklet, especially for this class. But it should stand alone as a set of exercises you can use to build your skills and stretch your abilities. There is a full toolbox of free motion techniques you can include in your work with just a little practice.

You can see several chapters up on earlier blog posts.

Product or Process. How Do You Learn Best

Bobbin Work

Hard Edge Applique

Skills covered
Free motion straight stitch
Free motion zigzag
Bobbin work
Hard edge applique
Soft edge applique
Working with Angelina Fiber
Working with dyed cheesecloth
Couching
Adding silk flowers and leaves
Globbing

I tried to write a book that would cover a lot of information in a small space. I’m hoping you find it useful. You can order the Kindle Stitch Vocabulary Book right now. The print book will be out at the end of the month, and it’s part of your kit if you are taking the class.

I’m so excited to be sharing this material with you and to be out teaching again with the best people in the world. Quilters!

Turning Over a New Leaf

| ellenanneeddy

We’ve talked about ways to make leaves more real. Leaves are wonderful shapes in themselves, but because they bend and fold and move, they add movement to your piece.

I’ve been working on a fish quilt that I wanted to frame roughly in kelp leaves, and it seemed like a good study on making leaves fold. Kelp is a water plant that bends completely to the movement of the water. But it has a definite back and front. We’re going to experiment with making the leaves fold for this quilt. Here we have just raw cut leaves.

I can see some purples in this as shadows, perhaps, but what I really want my thread color to do is to define the front and the back of the leaves. I intend to stitch the edges pretty heavily, so I’m going to do the leaves separately. I’ve cut leaves freehand from several scraps of green and glued them to felt with Steak a Seam 2. On the back, I have Stitch and Tear which is a crisp tear-away non-woven interfacing. So my embroidery sandwich is my hand dye, Steam a Seam 2, and Stitch and Tear.

I took a piece of the release paper from the Steam a Seam 2 leaf cuts and have folded it in different ways so you can see how that affects the leaf. The front side edges will have heavy crenellation on them. The back sides will be smooth where the folds are.

My thread zones are back and front sides. The front needs to be bright/dark /intense colors. The back needs to be muddy, greyed, soft colors.

It seems like the fabric should define the leaves completely, but I’ve found that’s never really so. What defines much of the leaf color is the thread. If the thread is purple it’s at least a purplish leaf. Sometimes that’s the way to go.

stitching the leaves

Here’s a video showing the crenelated stitched edges.

The leaves fold in the water. On the front side, their edges are crinkled and bright. The edges on the back sides are smooth and greyed out. once they’re applied to the quilt I can take sheers and lace and overlay them with water so they look wet.

Here are some of my separate leaves, made to fold in the water.

I’m not so sure about this layout. I think I need to leave it on the wall for a while and see if I have the placement right. I may have overdone. But since nothing is stitched down, nothing is written in stone. I’ll see how it looks in the morning.

To explore more ways to make leaves check out my previous blog post, Over and Under

Seeing Right Through: Applique with Sheers

| ellenanneeddy
Splash! in process

I know it’s not supposed to be quilter’s fabric. Sorry. I can’t leave it alone. It’s too much fun to play with test tube babies. Over the years I’ve collected a special stash of laces, organzas, chiffons, brocades and just plain weird stuff.

It’s not anything I would piece. But no one would call me a piecer so that’s moot. But it’s wonderful for the things in this world that are, by nature transparent and/or translucent. I’ve talked earlier about finishing sheer edges with a soft edge finish, Sun Rocks, Wind, Water: Elements with Soft Edges.

But there are times you want that edge to show. Edging lace and sheer applique is a way of not only defining the edge of the applique but of controlling the color and controlling exactly how transparent it is.

I’m working on some moonflowers and some snow drops for a quilt called Splash. The quilt features a dark mostly blue background, and I wanted glowing white flowers for the background. Moonflowers are morning glories that bloom only at night. They’re perfect.

It’s also a way of lightening a darker quilt.

I used both lace and organza for my flowers. I do like them to have small differences, so they have their own individuality. Then I placed them with Steam a Seam 2 on a piece of white felt, with some green leaves. Why felt? It’s a spectacular stabilizer, with a layer of Stitch and Tear underneath. Why white? Because it’s all going to show. Whatever color felt I put under the lace will show through and define the color of the finished flowers. Organza will show through the most, lace less so, and Angelina fiber the least.

Knowing that is power. Felt comes in a full Crayola box of colors and it allows me an extra layer of shading in the process. The thread I use will also define the colors and shade things into darks and lights. Here’s a collection of flowers with different backing felt colors.

white over pail blue
angelina fiber
white over pale blue
white over pink
white over white
White on White
white over turquoise

I use a number of pastels as well as different whites to stitch the edges to give depth. As usual, it’s darker where the sun isn’t shining.

shading the flower

I stitched the flowers with a free motion zigzag. Here’s a little video showing how that works.

I did these moonflowers separately from the piece because they’re relatively large and would have distorted the surface. But for the smaller snowdrops, I applied them directly with Steam a Seam ad then stitched on them directly. The cool thing about this is that the background peeks through, like all translucent flowers. It’s a cool effect.

snowdrops directly on the fabric

And it’s a great reason to play with sparkle lace. There should always be a reason for sparkle lace!

Hard Edge Applique: Redefining the Line

| ellenanneeddy

We talked earlier about soft edge applique. Soft edge is a minimal treatment that simply covers the edge of an applique with monofilament nylon or poly thread with a zigzag stitch. For things like water, air, fire, rocks, mist, suns and moons it’s perfect. Sometimes it’s good for flower petals as well. It’s for anything that doesn’t need a hard defining edge. It creates soft color shifts across the quilt.

But some things need that edge. Bugs, birds, frogs and fish all need that hard definition. Or you can’t really see them at a distance. And it makes a huge difference when you go to photo your piece.

You know I’m a color girl. I’m going to want to use color every time I can. But over the years I have learned, if you want it to stand out, use the black for an outline.

green outline
black outline

I particularly have tried it with bugs. Metallic thread green thread always gets my attention, and I reach for it much in the way you might reach for cherry cordial chocolates. But I’m mildly disappointed with it in the end, because it never gives as defined a space.

basic outline

I’ve been working on this egret, and the my process shots reminded me how important that outline is. Again, I’ve been working on doing a dimensional white bird, so it has a lot of contrast underneath to shade to white on the top.

The bare bones outline define the areas to shade with color. I’ve come to rely on 40 weight Madeira Poly neon. It comes in several blacks, but the definitive one is color #1800. I’m using a free motion zigzag stitch to outline, which is why the width is variable. (See post Zigging Upended for a tutorial on zigzag stitch).

I build color, from dark to light from the outline. For more information about choosing those colors, check out this post: Into White: The Search for White Thread Painting. But it’s coloring within the lines. As you can guess, I’m not so good at that. The threads encroach over the line and things get mushy. So the final act is that reoutline.

Redefining the outline

You can see the difference that second outline makes. All the edges that are fuzzed and mussy are now tightened up and out there.

The outside edges will be defined as I stitch the bird down. But having the inner edges cleaned with an extra edge of stitchery redefines all the lines.

finished egret

When I applique the bird on, again I’ll use my zigzag stitch with black thread. It gives the outline definition and punch and helps separate the bird from the background.

Separation Anxiety: Making Mountains Out of Zigzag

| ellenanneeddy

The hardest technical thing to deal with in free motion embroidery is the distortion. Any time you stitch rhythmically and close together, the fabric will distort, trying to make room for the extra thread in it. More so if you’re using a zigzag stitch. Zigzag stitching pulls on both sides and can make a top wave like a flag.

There are several easy cures: Using a stabilizer, using a hoop, using smaller width stitches. All that being done you can still end up with a crumpled mess lying like a hat. It’s not a happy moment. It’s made worse by the fact that the fabric made by that kind of stitching is usually pretty fabulous. Just lumpy.

Can you steam it? You can try. Sometimes it helps. Can you cut it apart and put it back together? I’ve done it. It’s a last resort, but it’s better than lying in lumps.

Or you can cure it by cutting off the rumple. I’ve done that a lot with embroidered subjects. But can you do that with elements of the background? Why not!

Cheesecloth mountains

This is a direct applique technique. I have some cheesecloth mountains for this owl in the meadow. If I stitch them down on the quilt surface I will end up waving the flag. So instead, I’m going to glue them on felt and do my detail stitching before we attach it to the front.

Do I lose something by this? Several things. I lose the look of the hand dye behind the cheesecloth, which I like quite a bit. And I lose the distortion. I hate the distortion. Do the math and make your choice.

The felt I’m using is a cheap acrylic felt from Joann’s. It’s stable, doesn’t fray, and stitches well. I’m making my mountains out of cheesecloth and Steam a Seam 2. On the back, I have a layer of Stitch and Tear stabilizer to help control the distortion and give support to the stitching.

Cheesecloth is porous. The glue will come through when you iron it. I’m using a Teflon pressing cloth to protect my iron.

The glue will come through onto my pressing cloth. I can clean that off with a Scotch Brite No Stick Scrubby.

Once I’ve got it glued down and stabilized, I can start stitching.

The stitching on these is moved through the machine from side to side. That creates a long stitch that fills the mountains quite nicely. It also distorts the fabric a lot. You can see the pull of the stitch on the fabric as the stitching fills.

When it’s all cut away the distortion is gone and all is left is a thin margin of felt that can be covered with minimal zigzag stitching. All those textured mountains with two small rows of zigzag that should not distort much.

I’ll pull off the last of the glue before I apply the mountains to the piece. I use a small square of plain cotton (something I never want to see again) as a pressing cloth and iron the embroideries on high heat. The glue will bubble through to the pressing cloth and pull right off. Make sure you remove the pressing cloth while it’s all steamy hot. Throw the cotton pressing cloth away. It will transfer that other bit of glue on to another piece if you reuse it.

This is a hard edge applique technique, because when I stitch it down, the stitching will be a visible line of polyester zigzag stitching.

everything but the owl

Now all I need to do is stitch down the flowers, add the owl and stipple.

For more information about cheesecloth check out: The Miracle of Cheesecloth: It’s not Just for Turkey Anymore and

For more information about zigzag stitching: All About the Line: Choosing the Right Stitch