It must be spring! At this time of the year, with the
lengthening of the days and the warmth of the sunshine, I can’t resist having a
good and thorough clear-out. It’s as though I am cleansing my environment after
the gloom of the dark days of winter and de-cluttering my space and therefore
my mind (bless that one little brain cell!) I have more or less accepted now
that I am retired (after 8 years of doing less and less teaching!) and will not
be getting back onto the teaching circuit again. To that end, I have thrown away
2 huge bin bags of paper patterns, workshop hand-outs, visual aids and magazine
cuttings. Instead of cramming stuff
precariously into the nearest cupboard, I have bought more storage boxes, one
for sheers, one for felting wool, another for fancy fabrics and yet another for
silk and the workroom looks much tidier.
During this drastic sort out, I came across some ‘historic’
(done over 15 years ago!) pieces that were too good to chuck out because I had spent too much time on them already. So this week I decided to start to complete
them in preparation for selling them at the Gresford show in June (unless I get
a good offer before then!) The first is a Tiffany-inspired stained glass with
Hollyhocks which I used to teach as a workshop many moons ago. This is how I had
left it and you can see that it is worth completing. I just need to add the
stems and the bias binding, sew on the bias binding, and quilt the picture and
trim and bind it …. Not much to do then …!!
Hollyhocks
To construct the picture, I use a method where the design is
drawn onto the WS of a piece of calico and the fabrics are pinned RS up onto
the unmarked side. From the WS, I sew on the lines to trap the fabrics in place
and then from the RS I trim away the excess fabric right up to the sewing line.
This is how I added the stems.
Pin onto the RS
Sew from the WS to trap the fabric and turn back to the RS
Trim away the excess fabric up to the stitches
The bias binding comes ready prepared with a fusible backing
and is a wonderful product to use.
The product
If I am working on my lap, I use a tacking stitch to hold
the bias binding in place before ironing it to stick it down. If I am in my
workroom, with an iron handy, I iron all the pieces in place. It is fast and
efficient and the pattern is defined in no time at all. The binding needs to be
placed in sequence from background to foreground so I often have a couple of
lengths on the go at any one time.
Sequence for placement
Fused binding
The binding needs to be sewn down and this can be done by
hand or machine. I chose to machine sew on the edges of the binding with a
straight stitch. I placed the picture onto batting and backing to give extra
body during sewing and to quilt it at the same time. I add quilting texture to
the background spaces prior to binding the edges. All I need to do now is to
add detail and texture to the flowers and leaves and a hanging strip on the
back and it is finished! Finishing this project has refreshed my interest in stained
glass so keep looking into my blog to see more of it sometime in the future.
Stitched binding
Bound edges
ASIDE: I have
inadvertently deleted the email I had from Suzette ‘one pin’ Smart with the
picture of her winning embroidery at the NEC. If you google her name, you can
now see her winning piece on her blog.