Previously on an example from Jason’s Pumpkin Quilt I showed you an off the block method for creating a unit of applique where the bottom most fabric was used as the base for the applique.  Sometimes there is no “back most” fabric that works as a base, but a lot of smaller units connected only by their common seams.  Are you with me?

In other words, we do not want a build-up of excess fabric as we create the unit.  The key to really nice applique is to reduce the bulk and amount of seam layers.  This isn’t so much of an issue with most applique we see due to its non-complexity and large scale.  But……..when you started moving on to *true* layered applique with many small pieces and layers, this becomes an issue that needs some consideration.

When it truly becomes a bit tricky is when you are working on a larger image in the 20″ square + range and manipulating tiny applique pieces in place under a vinyl overlay.  This scenario can become an exercise in patience.  A lot of patience.

I have a roll of a garment pattern tracing material that feels like interfacing, but is actually a paper based product that is sew-able.  I first used it to trace off my garment patterns so I would have a sturdier pattern to work from and also to make alterations to a pattern.  I bought this “Swedish Tracing Paper” from Birch Street Clothing, but I believe Joann’s carries a similar product called “Pattern Ease” off the bolt.

Normally I would trace off the section from my pattern, but since I drew the pattern and it is on my computer, I can print off the area I need as shown here.

Next, instead of working all of these little pieces, one by one, under a large vinyl overlay, I work directly onto the special pattern paper.  It acts as my base fabric.  One by one, I applique the pieces until the unit is complete.

I make sure my stitches are relatively smaller and taut so when the unit is complete, I very gently, tear away the pattern paper from the stitching.  I am left with the applique pieces with no background base.  I now have a larger, easier unit to place under the vinyl.

You can also trim seam allowances down after removing the paper.

I won’t say this is a faster way to do things, but it will make working on a large medallion block and the large vinyl overlay a lot less frustrating in places.  It is only one of  an assortment of off the block techniques I use to problem solve a difficult area.  I always feel the more options the better!

I will also add that you can also cut away as much of the tracing paper as possible from the unit instead of tearing it away and that works well too.  The stuff is super thin and really would not add perceptible bulk like a layer of fabric would. Some interfacings, as long as they are thin, might be good candidates to work with too.  As always, experiment and see what works best for you.

Another benefit to this method is I can audition units and see right away if the fabric choices work.  I was able to tell with this that I did not like the darker blue for this particular piece and went with the lighter blue.  It sure beats picking out all of those stitches when I realize I don’t like the color and/or value I chose!  I also carried it to the fabric store with me and I had a compass in which to find a better fabric.

She is quite tiny, (approx. the size of the eraser end of a no.2 pencil) but adds the final bit of interest to pull everything together.  This is another example of introducing a small amount of contrasting color to add some subtle punch and surprising detail.  I think details should be discovered like little visual treasures and not thrown at me all at once.

A small running stitch behind her suggests her flight pattern and creates movement in the design.  I like this better than quilting it in.  She is so tiny, along with her flight path, that the quilting would get lost amongst the background fill.  A tiny running stitch does the trick.

I used Cosmo thread #345 for the red of the wings, DMC 310 for the head+body and the rest is sewing weight thread.  Satin Stitch and straight stitches.  This is so much better than a clunky appliqued version don’t you think?

The block is now finished and as I tweeted earlier, I sent off the pattern cover image to the printer.  I will clean up the pattern and write up the instructions and it will be ready for you to create your own!

Ta DA!  I aways find it so amazing that once the eye is done, each bird has a personality and it comes to life right before my eyes.  This little Goldfinch seems so friendly.  I am really pleased with the way he turned out and I hope he meets your expectations too.

The only stitches I used were the stem stitch, straight stitch and a loose (not too precise) satin stitch.  The looser satin stitch gives more of a feathery texture as though the black and white feathers blend. A too precise satin stitch is unrealistic and is too perfect for a natural appearance in this case. 

I used Cosmo “Seasons” #8002 for the satin stitch detail and sewing weight thread for the rest of the details on the bird. Let’s do a before and then after the little guy’s “makeover”:

Before

After

The clever use of embroidery eliminated the need for tons of little applique pieces.  So instead of looking like a surgical nightmare, the bird looks more natural.  Sometimes too many applique pieces can ruin the image rather than make it look better.

Almost finished, only the ladybug to go.

Isn’t is amazing what a few easy embroidery additions can do?  The embroidery embellishment adds another layer of interest both visually and texturally. 

Oh and the Goldfinch passed the cat test. 

I know you are probably chomping at the bit to see the bird come to life as well as the ladybug. I know I am!  However, I am leaving those two things for the last steps for two reasons.  One, I don’t want to squish the poor ladybug in the hoop as I embroider other areas and two, I play mental tricks on myself to keep me going forward and finish what I start. 

If I did all the “fun bits” first, I would procrastinate finishing the boring tedious stuff  and it would eventually become another UFO.  I would say to myself, “I will get to it next week” and a year later it is still laying there unfinished staring at me and inflicting guilt.

If I do the not so fun parts first, then I am still anxious and motivated to keep working so I can move on to the fun parts as a reward!  See how that works?  Hey, I am not enthusiastic and Pollyanna about everything in creating my quilts. 

I am very human, I assure you.  I have to force myself to trudge through the boring parts just like everyone else.  I know the payoff comes when I finish and I am so so so glad I didn’t wimp out and take the easy road in the end. 

So this brings me to the latest completed part of the Goldfinch block.  The leaves and flower embroidery.  With the exception of the few French Knot miscellaneous orange pistils around the edge of the Osteospermum center, everything else is a stem stitch.

The Thread List:

French Knot pistils are done with Cosmo six strand embroidery floss “Seasons” line (variegated) #8047

The blue highlight “line” on the flower center is Cosmo regular six strand floss #526

The petal veins are done with 50wt. sewing thread Aurifil cotton #2562

The leaves are done with Sewing weight (50wt) cotton thread chartreuse green

All I have done to the flowers is to add a center line in a simple stem stitch for the vein down the petals (unless hidden underneath another petal); I added a few of those oddball orange pistils you see in an Osteospermum center in a three wrap French Knot around the outside of the outer center oval; and finally, a line of simple stem stitch for the blue highlight on the outer oval of the center.  Voila. 

The real life subtlety is missing here, but I think you can see how much more interest is added.  The variegated “orange” I used for the French Knots is great because if you look closely, some of the French knots are in a lighter shade and some are darker. Contrast, even in smaller details, is a good thing.

The addition of this small touch of orange breaks up the sea of purple and adds subtle ares of sparkle, plus works as a tie-in with the color of the Goldfinch’s beak  in the color composition.  Embroidery can add small layers of color that would be too overwhelming with fabric and more textural than artificial additives (paint, pencil, etc.)

The leaf embroidery is super basic.  I used a sewing weight (50wt cotton) thread in a loose purposely imperfect stem stitch.  It adds just a touch of texture and contrast.  Remember, when all is said and done we want the APPLIQUE to stand front and center not all of the techniques that are supporting it. 

Don’t get carried away and let the supporting players kill off the star!   So even though these details are so simple and not thickly added all over, they are just enough to make the applique come to life and not drown it out with too much of a good thing. 

I guess all that is left is the ladybug and the bird and the block is done.  Nothing like a nasty heat wave to get me back inside and working.

I Found More Background Fabric!

Almost daily I receive requests asking where to find the background fabric for the Wren and now, the Goldfinch.  Even though Lakehouse Fabrics has included this print (“Antique Script”) in three series of the Teatime Florals line, it’s still hard to find.  You know, I should seriously get a commission from this. 

Anyway, I was doing my morning fabric surfing and saw that Shabby Fabrics had re-stocked since, like yesterday?  Get it while you can.  I bought 2.5 yards originally for the completed quilt (most still in my head).  2 yards should be adequate as you don’t have the do-overs I do in designing and have to re-cut for more than one mistake.

If you are following along and making your own blocks from the Naturalist’s Notebook series as they are created individually, this is the main background fabric I am using for my blocks. 

 UPDATE: 8/15: 

Shabby Fabrics: Antique Script Fabric  SOLD OUT

Hollyhill Quilt Shop  has some available. 

Desperate Quilters  SOLD OUT

Snowy River Quilts unknown amount available

 Good luck and no pushing or shoving!