Grey-Yellow III


Just finished the top borders only to see in the photo that I’ve switched out two blocks and have then in the wrong place. So gotta carefully unstitch that area, and reposition those two blocks – not today. Maybe tomorrow.

Top Finished

Top Finished

Other than that, I’m pleased with the finished top. The grey-black gradation has worked; the yellow doesn’t shift the way I was visualizing it but it’s still effective, more or less. I certainly can live with that. I’m pleased with the points integrated into the border – that worked out nicely.

So now to come up with something for the back. I have a lot of yellow/grey blocks left over – I’m going to have to play with them on the floor to see what I can come up with.

Here’s where the blocks are reversed so the greys are in the wrong place:

OK, I couldn’t stay away from the sewing – I fixed the blocks:

Then I went on to the back – remaining blocks – a spiral:

I’ll fill in around it with the backing fabric – this large 8 x 6 block will get positioned offset toward one of the quadrants.

Sunflower – Completed



Just finished!

I started working on this piece two weeks ago. I began with the original photo – cropped it, enlarged it, then printed out sections, taped them together, traced individual petals using tissue paper, planned out the background and traced the shapes…


“Sunflower” – paper template to enlarged size

Next I collected fabrics from my stash, bought some new pieces, started building the background, cut out the petals and arranged them in place,


“Sunflower” – the elements cut out and positioned

then started stitching: I laid down four horizontal strips of fabric from top to bottom, stitched them in place. Then added the leaf elements, edged stitched them – I didn’t “free motion” because I wanted more precision so, instead, I slowly freely stitched with my feed dogs in place – that allowed me to stitch very close to the edge of the appliquéd pieces. Next, I added a bit of detail and fill.


“Sunflower” – background stitched

Once the background was completed, I laid out the flower petals, fused them in position, then began carefully stitching them, first using a light thread at the edges, then more golden/orange threads for the centre of each petal. Finally I stitched the centre of the flower – my goal was to bring out the spiral pattern of the florets (the centre of the flower was printed on fabric to retain the natural detail of the floret arrangement, as well as the few small bursts of blue – too small to add using cut bits of fabric).

To finish the piece, I added a 3/8″ inner border of raw silk, mitred at the corners, then a purple piping, and finally a 3″ batik frame also mitred at the corners.

Version 2

“Sunflower” – stitching detail

The whole piece I backed with muslin, including a sleeve for hanging at the top.

Now I’m walking around the apartment trying to find a place to hang it – there doesn’t seem to be one, without taking something else down! I’m really going to have to think about where to display it.

"Sunflower" without frame

“Sunflower” without frame

Sunflower I

I’ve been working on the “Sunflower” art quilt for the past few days. I pencilled in the layout on the prepared muslin backed with batting, traced the flower petals from a photo enlargement on to tissue paper then placed tracing paper beneath to retrace onto the muslin, fused some Heat ‘n Bond to the back of a piece of subtly printed bright yellow fabric, cut out all 38 petals and have so far put them aside because before I can fuse them in place I need to do all the work on the background! For the moment, I’m placeholding the centre of the flower with a paper printout to scale.


Petals Pinned In Place

I decided to create the background working from the original photo because the detail was sharper and showed the elements in the background more clearly. I fused a pale green printed fabric to the top of the image area on the muslin (having darkened the top edge using fabric pastels – very little of that band will show when the piece is finished). Below that a soft blue. I laid in a purple/blue/pinkish batik strip as background at the bottom of the piece – leaves will be overlaid on that fabric and very little of it will be visible. I filled in most of the remaining background with pieces of greens and purples. These, too, will be mostly covered. Again, I’m using tissue paper for my templates so I can see through it to the photo enlargement, and when cut out I can see the fabric pieces beneath. I want to cover all the raw edges of the background with the foliage so that only a sense of colour peeps through.


Original Sunflower photo taken in 2002

Once I sorted out what fabrics I wanted to use for the foliage, I returned to working from the cropped enlargement to help me retain proportions.

Version 2

Enlarged, Cropped Image

I traced the leaves and have pinned the tracings in place on the piece. I’ve selected mostly batiks here because the colour variation in it will help with the subtlety of shading I’m trying to create. In the photo, the leaves are predominantly a very light colour reflecting the sunlight. The challenge will be achieving a realistic look to the piecing of the foliage. If, in the end I don’t like what I’ve got, I may print the foliage on fabric, fussy cut the leaves and stems, fuse that printed fabric in place and thread paint it.

Planning Out Leaves and Stems

Planning Out Leaves and Stems

I’m calling it quits for today – tomorrow I’ll begin crafting the leaves and stems hoping they will turn out as I imagine them.

Art Quilts: Flowers

Danny Amazonas is a Taiwanese textile artist who makes amazing art works (many of them quite large!) by sketching an image on blank fabric then using bits of fabric (with fusible interfacing on the back) as if it were brush and paint. I can see how the work is constructed from the background up. What I can’t tell is whether he top stitches any of the elements (although I’ve seen photos of him sewing on a large piece so perhaps he does some stitching). Here’s a recent video interview of Amazonas in Tokyo where he’s describing his art quilts.

The reason for my interest in Amazonas’ work is I’d like to try it on a piece of my own. I’ve been scouring my photo collection for images of flowers that a might make a strong visual image when constructed from many bits of fabric.

Version 2


I took this photo of a sunflower it’s gotta be 15 years ago – I have a copy of the photo hanging in my apartment. But I’d love to enlarge it somewhat and have a go at piecing the image. I love the detail of the flower, but I also love the soft green/mauve background which sets off the yellow of the flower.

Other artists piece their work but also clearly top stitch/thread paint their creations:


Kate Themel – Rudbeckia


Barbara Olson – Zinnias


Zinnias Detail

I have a couple of other images that would work as floral panels as well – I guess I could always do a series of hangings:




Strelitzia reginae

both of which would make spectacular images. I’d crop both to make the bloom more prominent. If I were to try panels 14″ x 10,” a series of three would be interesting.

In any case, my next step is to cut a piece of muslin about 20″ x 20″ (to give me lots of area to work with), sketch out elements of the sunflower, go through my stash pulling every bit of yellow/orange/brown I have (small scraps are going to be useful), collect some blues/greens/pale mauves/ for the background. I will need to add fusible interfacing to pieces of fabric then start cutting, placing and pressing…

It’s like facing a blank canvas with some paint on my palette, taking a deep breath and just starting.

Wind Waiting – Done!


Wind Waiting, 2017

Just finished! (Click on photo to see the enlarged photo – the panel is laying on my bed which accounts for the receding top)

This morning, I trimmed some threads, added a bit more stitching to the guys. Then off to the fabric store to see what I might find in the way of fabric for the border. Neither fabric store near me had anything better than the three possibilities I’d pulled from my stash. In the end, after consulting with the gals at Sew With Vision, I decided on the “mid” colour intensity option. One of the gals had a good suggestion – what about adding piping between the inner and outer borders?

Great idea! Sew With Vision didn’t have any solid fabrics that worked, so I went down the street to Atlantic Fabrics. They had a dark grey/brown Kona cotton which matched the browns in the border fabric perfectly. I auditioned various shades of blue, some greens. I even tried a black, but the best choice was definitely the brown.


Piping detail

I knew before I started I’d have to make the piping – actually it’s not a difficult job when you’re using a piping foot – I turned out four strips of piping very quickly. The secret to applying the piping is to do it in two steps – attach piping first, then border fabric on top of that. I measured 1/2″ from the inner edge of the inner border, marked it with a heat erasable pen, lined the inner edge of the piping against my line and stitched it in place. I trimmed the excess piping as close to each corner as I dared, then marked 1/4″ on the piping fabric, aligned an edge of the border fabric (2 1/2″ strips) and stitched a second time. I ended with a very neat, narrow piping with the border fabric abutted directly against it.

Then I added a muslin backing. I trimmed my muslin to the same dimensions as the panel, pinned it, and stitched the layers with the muslin on the bottom so it would not shift position. I added a sleeve for a dowel/curtain rod at the top, incorporating it into the top seam. Finally, I turned the panel right side out, pushed out the corners, pressed it flat, hand stitched the opening in the panel bottom as well as the bottom edge of the rod sleeve at the top. When the wall hanging was turned right side out, the muslin backing was a wee bit larger than than the panel, so using a zipper foot, I carefully pulled back the piping from the inner border and stitched all layers as close to the piping as I could so it wouldn’t show. That seam was successful – the muslin doesn’t peep out along the bottom edge of the panel.

Now to find a place to hang it!


On the wall

The Solution…


Stitched Foreground

Michael Fuller wrote me yesterday

Go with the detail and time consuming fussiness. It’ll be superior to the photo copy model….”

‘OK,’ I though to myself, ‘I’ll give it a try.”

That’s where I started today – I began by printing out the black and white outlined image of Brian, the figure on the left, on some Heat ‘n Bond printing paper in order to use the outlines as templates for the fabric – BUT, here’s a glitch: the technique requires a ton of cutting with small fine scissors and for the last six weeks my arthritic right thumb isn’t working – the muscles to “open” the scissors are too weak to let me cut with any precision.

I decided to try fighting through that problem but a second issue presented itself: I cut out the entire jacket in a light fabric intending to use that as the base and building toward the darker tonal qualities until I had the jacket assembled. I fused some Heat ‘n Bond to the wrong side of my lightest fabric, cut out the overall jacket shape – that worked out OK, but when I started to build the left sleeve it became immediately obvious the slight differences in weight of fabric (although all quilting cottons) was going to create an imbalance and because each tiny piece of the puzzle is so small I would be left with a  slightly fraying “raw” edge in spite of the fact that I’ve fused some Heat ‘n Bond to the wrong side of each small piece before cutting it out.


Detail of Figures

The final thing that was obvious was how “lifeless” the construction would be. The very subtle differences in shade intensity wasn’t achievable with the fabrics I have.

I gave up after about an hour of finicky cutting and fusing and decided to use the fabric photo images after all and fused them to the background.

What I will do tomorrow is begin the process of edge stitching each figure and then stitching in the colour/shading boundaries. That is also fussy work but my wonky right hand doesn’t interfere with being able to do careful machine stitching.

Here’s The Question…

Pilots: Printed on Fabric

Pilots: Printed on fabric, laid on background

Here’s the question – I’ve been looking at the art piece and wondering how might it look if I printed the figures on fabric, fussy cut them and fused them to the scene instead of trying to create them (shadows and all) from different fabrics?


Here’s the detail, right? Lots of little pieces to be very fussy cut and fused to a base fabric – very time consuming. Doing the appliqué work will also be time consuming because I will want to stitch in all those colour demarcations, but what I get is a more realistic look to the figures which are the focus of the piece.

All I’ve done so far is print each pilot on EQ Printables Fusible Fabric and carefully cut each. I haven’t yet fused them to the background. The way we see the sun on their clothing gives the viewer a sense of the light – some brightness but not full sunshine. I can’t achieve that through piecing, even if I’m extremely careful with fabric selection.

I guess what I have to do is try one of the guys and see how he turns out – maybe Brian (the one on the left). Whichever way I do this, I think it makes sense to refrain from filling in the grasses/shrubs until after I’ve got the figures in place, that way I can build up the grass around their shoes as I go along and not as an afterthought.

In case you hadn’t noticed – this fabric wall art requires a gazillion decisions and unlike oil/acrylic painting there’s no going back – you have to live with whatever decision you choose to execute.