If you want to have a
comfortable, practical, totally unique custom duffle bag that perfectly fits
all your traveling needs, look no further!
We’re proud to introduce:
Princess YellowBelly Designs Custom Duffle Bag Pattern
And, if you want to purchase a custom duffle bag already made – we still have three finished bags in our shop over at Etsy.com, get one before they’re gone!
This is a Princess YellowBelly Designs Original Pattern – one we’ve been working on from way back in 2015 when we were still Lilies Of Grace
Princess YellowBelly Designs Custom Duffle Bag Pattern
– Coming Soon
Whether you’re looking
for a fun DIY project for yourself, or a gift that you can customize and make
quickly as a gift for a loved one – this is the custom duffle bag pattern for
you. With two sizes, optional variations
and add-ons, and unique monogramming guidance, you can get a new duffle bag in as
little as three mornings!
In just a few weeks PYB
Designs will have finished our first pattern – and the accompanying video
tutorial series – for our customized and simplified highway-lovers’ duffle
bags.
These are the bags that
we use to travel, constantly. Whether we’re
going by road or by air, we’re never found without at least one of our personal
duffle bags. They’re convenient, they’re
easily squished into tight spaces. And
no airline has ever lost one of our bags in transit – they’re just
way too unique and recognizable.
When the pattern comes
available for purchase, your package will include:
Tips for easier sewing and the best products to use…
Advice on monogramming and other fun personalization of the pockets…
Descriptions of options & variations you can add or remove to best suit your unique needs…
Inner pockets
Multiple inner pockets
Outer pocket closure options
Length of carrying straps
Two sizes – Regular and Extra-Large
FREE access to the accompanying step-by-step video tutorial series – this doesn’t apply to every purchase. If you’d like to secure your spot for FREE TUTORIAL ACCESS, please sign up for our e-newsletter today (which is where we’ll announce the final pattern release) and you’ll get insider access in the announcement email!
Can’t Wait?
If you don’t want to wait a couple of weeks until this fun new projects is ready, and would prefer to purchase a custom duffle bag already made – we still have three finished bags in our shop over at Etsy.com, get one before they’re gone!
Daughters
of the Highway Rich Burgundy Floral Custom Duffle Bag
This fun and unique bag was designed for a traveling woman! The rich burgundy, khaki green, and deep gold floral design is elegant, slightly whimsical, and durable. To find out all the details, click on the BUY button below – this will take you through to the Etsy.com listing, and please don’t worry about buying too fast. Etsy.com has its own secure checkout process that will stop once you add the item to their cart.
Blue Blood – Simply Striking Blue
& Black Custom Duffle Bag
This duffle bag is simple, striking, and very durable. You’d pretty much have to take a pair of scissors to it before it’ll develop a hole. To see more, click the BUY button.
Crazy Summer Dream – Bright &
Fun Mini-Quilt Custom Duffle Bag
We love all of our products – but we have to admit, this is our favorite. Crazy Summer Dream isn’t just a whimsical, chaotic piece of colorful fun, it’s a quilt! No, seriously. It’s a scrap-pieced quilt that we made out of a jelly roll, layered with batting and a lime green backing, and quilted before wrapping it into this one-of-a-kind duffle bag. Please, head on over and check it out!
We very much hope you’ve enjoyed our newest pattern offering – and we look forward to seeing your name on our e-newsletter list! In the meantime, if you have any questions that you’d like us to answer directly, please email Karyl – our head seamstress – directly. Her email address is karyl@pybdesigns.com.
Until
next time, we wish you the best with your quiltivity.
Welcome to a new series! There’s a lot of things that you need to have in your sewing toolbox; some of them are big items – like choosing the best sewing machine, which we’ll cover in this edition. In upcoming episodes we’ll cover more necessary items every quilter should have on hand, from scissors, to thread, to little “gadgets” that you might not think of getting on your own!
How to Save Money and Still Have the
Best Sewing Machine for a Quilter
Unless you are a professional seamstress (sewing for others)…a quilt store owner giving classes and selling everything remotely related to sewing…or a professional long-arm quilter; you really won’t be needing all the bells and whistles that every quilt store and magazine insists that you must have.
There’re lots of fancy dreams about sewing machines out there – but how do you know which is the best sewing machine for you?
How
do I know?
I’ve been sewing for 30 years and creating fabric arts and quilts for 14 years, and the closest I’ve ever gotten to all the bells and whistles was when I purchased a Bernina sewing machine. It was an Artista 170 and the listed price at that time was $3,000.00.
I
didn’t actually pay that, however. I got
it for $800.00 because it had been a demo model.
I’ve
sewn on this machine for 10 years and really enjoyed all the fancy stitches,
etc… until they stopped working so well. Then the Bernina salesman told me it couldn’t
be fixed and I needed to purchase a new one.
Since I’d been diligently taking this machine in to be cleaned and maintained on a regular basis – and paying over $100/visit, I decided that I’d let Michael have a look at it. Michael is a great mechanic – very methodical and thorough.
He
discovered 4 things.
One: the machine had never been
oiled or even properly cleaned.
Which
meant that all the money I had spent supposedly having that done had been
wasted.
Two: the Bernina manufacturer had used shoddy metal
Probably on everything, but especially on the jingle-zazzle (forgive me, darling, I don’t remember the precise term) that’s used in sewing all of the fancy stitches, and ultimately the zig-zag stitch, which is my most valuable stitch.
Three: Bernina does not provide a
shop book for do-it-yourselfer mechanics to figure out how it works.
This
didn’t stop my sweetheart, and, being Michael, he stripped that Bernina down to
the frame and figured it all out himself only to find yet another problem.
Four: As a “civilian” you can’t
purchase a replacement part anywhere.
Karyl Fitzgerald & her husband
Not from Bernina itself, and not from the sewing machine repairman in ANY of the quilt stores! Michael was EXTREMELY ticked off. And, just to show them, figured out how to make it work anyway.
The
upshot was that the Bernina sewed for me for another 5 years but has now,
finally, given up the ghost entirely.
I
say all this to tell you that Michael and I have been having long discussions
about what I must have in a machine, what I would like to have, and what is
just an added pain in the neck and the pocketbook.
Here
are my conclusions:
What You Need in a Sewing Machine
Depends on What You’re Planning to Create With it
After a potential financial horror story like this (imagine if I’d paid full price!) you might be leery of getting a sewing machine at all. Forget that thinking. Unless you’re one of those people who sews entirely by hand…but even for those who quilt or piece by hand usually do end up doing a little bit with a sewing machine.
Get your quilting out from “behind bars” by buying the best sewing machine for your needs
This
is the #1 item you MUST have in your tool kit or there’s no use in going any
further.
Whether
you use it:
Just to do the
mending…
Making your own
clothes…
Or quilting…
The
sewing machine you purchase must be able to perform smoothly, without constant
breakdowns, and get the job done with a minimum of fuss. Here are some things you should consider and
look for.
Just Because it’s Expensive, Doesn’t
Mean it’s Any Good
I actually don’t think that any of the big, brand name quilting machines could possibly be the best sewing machine for quilters.
Like
I said, I will never buy a Bernina again because of the shoddy workmanship…the
unavailability of a shop book…the expense of a maintenance visit…and the
refusal on the company’s part to sell individual parts to the unwashed
masses.
I have checked with Baby-Lock and Janome and this appears to be their standard operating procedure as well.
Barb
bought herself a new Janome a few years back and it cost her around $8,000.00!
I
would say this is insane because you have to sew professionally for this to be
at all financially sound, and Barb sews way less than I do. Also, Michael found out on his many travels
via the Internet, that Bernina at least, sells their machines in Europe for
half the price they sell them for here, and I find that very upsetting.
What You Don’t Need in a Sewing Machine
If you are into embroidery in a big way, then you will obviously need a machine that does this – but shop very carefully. I’m sure there are ways to purchase the best sewing machine for specialties like this without paying top dollar.
The internet is always a good place to start – and my favorite quilting store recently moved buildings, and marked their machines down by 50%.
However,
if you only want to do the occasional monogram, like I do, you only need a
machine that does a nice satin stitch and has free motion quilting.
Buying a Cheaper Machine Can Force
Ingenuity
I
have often lusted over machines that have a wider throat because it is so much
easier to push a larger project through them.
But, since I’ve never had one, and refuse to spend thousands to obtain
one, I used my in-born creativity and figured out ways to put smaller pieces
through before joining them to the larger piece.
This is called quilting in sections and there are a lot of ways to go about doing this, and believe me, they work! So don’t spend thousands for a larger throat machine if you don’t absolutely have to.
Plus,
a big reason I quilt is to keep my mind sharp.
So trying new and even difficult techniques is good for me, anyway.
Be Wary of Those Oh-So-Tempting
Accessories
Other
things that are nice but not necessary are:
Needle-threaders (these break easily)
Thread cutters
A knee presser
foot instead of a foot pedal
And 300 fancy
stitches – of which you will probably only use 10.
There
are always exceptions, of course. My
eyesight isn’t great, so if I didn’t have my kids around, I’d probably need a
needle-threader. I’ve known of quilters
who sadly suffer from physical ailments, and they actually do need the knee
presser.
What You Do Need in a Sewing Machine
That being said, there are a few qualities and features that you need to look for if you’re going to be successful in find the best sewing machine for you.
This is my best sewing machine – the second of two identical machines which does all the work of my Bernina for roughly $140 a machine
Durability
This
means a machine that is well made with the best material available, especially
when it comes to the shanks (whatever
those are), and other internal workings, etc. It must be built with good steel.
You
can find all this out if you check out each machine’ website, but you might
also want to ask your local shade-tree mechanic for advice if you can.
Maneuverability
If you’ve never owned a machine with a computer in it, it will astonish you at how much they weigh! My Bernina was just a regular sized machine, but it weighed at least 3 times more than one without a computer.
Many of my beautiful and innovative quilts have been sewn on this simple, humble little workhorse sewing machine – don’t underestimate them!
The
weight factor become much more of an issue the older you get.
If
you plan on moving your machine around to quilting circles, classes,
maintenance checkups, etc., consider the mechanics of moving it. Barb has to have her son load hers into the
car, and moves it around in a wagon because there’s no lifting that sucker for
anyone over 50.
Motor Strength
Machines
that are advertised as Heavy Duty, are to my mind, the best sewing machines for
overall sewing, especially for home sewers who do more on them than just
quilt.
For example I also like to do:
The mending
Sew curtains
Various household decorations
Sew clothes for Michael, etc.
Besides doing all my fabric art stuff. This requires that my machine have the strength to sew through several layers of denim and still be able to stitch chiffon fabrics.
Free Motion Quilting
If
you do any fabric art or quilting at all, you will need the free motion
quilting feature. This is becoming more
and more common in almost every brand of machine – don’t buy one that doesn’t
include it.
A Strong Zig-Zag
When
you think about all of those fancy stitches that the top-line machines have,
ALL of them are created with a zig-zag stitch. So it makes sense to be sure that this part is
created with the strongest steel and machined perfectly, and that it can be
easily oiled, cleaned and maintained, because if it can’t, your fancy stitch
feature won’t last very long. Ever heard
of planned obsolescence?
The Best Sewing Machine for You is a
Hard Decision
One problem with the smaller, cheaper machines – like my own Singer Work Horse – is that they tend to have a limited life, and when they go, they’re gone. So just know that you won’t be able to extend the life of one of these quite as much as a big machine.
Michael
and I finally concluded that the three features that I used constantly in my
work were straight stitching, zig-zag stitching, and free-motion quilting.
So
this is all I’m going to purchase at present.
Sometimes
it is more cost effective to buy 2 different machines to accomplish different
tasks than to buy one machine that does it all.
Like a plain, regular sewing machine and a separate serger or embroidery
machine.
Both machines will be more simply built and therefore more easily maintained. The more features you stuff into one machine the more there is to go wrong. I finally decided to buy a $130.00 Heavy Duty Singer for the bulk of my sewing, and am thinking of purchasing a Brothers 1500 that does nothing but straight stitch and free motion quilt.
The
Singer has an excellent zig-zag feature and this way I can spread my sewing
over 2 machines without wearing them out.
The Snob Factor
Beware, beware. This is a monster that can get you into all sorts of hot water financially.
“The nose is up…the eyes cast down!”
It’s
a combination of jealousy, keeping up with the Jones’s, and wanting to stick
your nose up in superiority while looking down on mere mortals. It’s a great temptation and being human, we
all do it from time to time.
This
is no less true than in the quilting world.
Just
walk through a quilt show and listen to the people around you running down a
machine sewn binding vs a hand-sewn one, etc.
This totally human tendency can be completely harmless if you keep it in
your head. But if you let it into your wallet it can be BIG trouble and cost
you BIG bucks.
Don’t
fall for the “more expensive it is, the better it is and therefore, the better
I am” lie.
A $200.00 machine can work for you just as well as a $5,000.00 one if it does what you need it to do.
So, give a careful think about what you need your sewing machine to accomplish, do your due diligence on the Internet by checking out each machine you might be interested in, talk to friends and fellow seamstresses about their machines and recommendations, be realistic about your budget for a new machine, and make your choice.
Once you have finished one of your masterpieces, the question instantly becomes; “How do I keep it this way?” This is an excellent question and one that needs to be considered carefully, especially with fabric art creations that often incorporate elements that are not washable or dry-cleanable. Knowing how to clean a quilt properly will help extend the life of your masterpiece into an heirloom.
When I consider my creations I often think about Leonardo da Vinci and Vincent Van Gogh; both men produced a work of art that everyone recognizes instantly.
The first, of course, is the Mona Lisa that has survived basically unchanged for over 500 years. This is astounding and deserves recognition. Obviously, right alongside his genius is the fact that Signore da Vinci used paint and techniques that have stood the test of time.
These embroidered squares are over 30 years old – and still crispy clean and in mint condition.
Van Gogh’s creation – The Sunflowers – has not been so fortunate, as the brilliant yellow that he used to paint the sunflowers gradually turned a dark green.
It’s not the technique that’s flawed, but the mediums these artists used. Of course, as it’s been over 500 years since Van Gogh painted those sunflowers, and since he’s been dead for quite a while, I doubt that he cares. Just the fact that the Sunflowers are still around is as astonishing as the work itself.
What Lessons in Quilt Cleaning Can
We Learn from Signore Da Vinci?
When
someone creates something great, and it sticks around longer than the creator’s
lifetime, we no longer call it a painting, a quilt, or a piece of pottery.
We
call these items masterpieces – especially if they’re hanging in a museum.
On a personal level – especially when the artwork stays in the family, as quilts most often do – we call them heirlooms.
But
getting heirlooms isn’t an accident.
First you have to recognize that your quilt has the potential to become an heirloom. Which is strangely hard to do. It’s an odd thing, to think of your hobby project as something of great value that has the potential to survive beyond your own lifetime and become a family treasure.
The next step is simple; you have to be ready to preserve that heirloom.
Especially since fabric and thread can be just as touchy and temporary materials as paints and canvas. Think of the preservation process following your quilt creation as if it were the business of being an art-restorer.
You’re
restoring your art every time you clean your masterpiece.
Preserving a Quilt Before You Sew
the First Stitch
As always, the first step in a big project starts before you start. You have to think about how you’re going to preserve your quilt, and how to clean a quilt properly, before you put your foot down on your machine’s presser foot.
Always, always, always use the best products available to create your
masterpieces.
It’s
no good using the cheapest option on fabrics, thread, batting, etc., if you
want your creations to stand the test of time.
Take your time during construction,
making sure that each step is performed to the best of your ability.
Both
of Da Vinci’s works have survived in part, because they were beautifully
constructed. Da Vinci was a technical
genius as well as a painting master.
Sometimes, in order for your
creative genius to shine, you have to go out on a limb.
Just as Van Gogh did when he mixed the paints that produced the beautiful yellow he wanted for his sunflowers. It was a risk, which I’m sure he knew, and which hasn’t stood the test of time. But, the painting itself is still a masterpiece.
And as you look at the moldering, green sunflowers of today, your imagination can recreate their splendor during the days of the Renaissance. Sometimes, flaws can enhance the beauty of a creation.
Start beating the value of your
quilt into everyone’s heads right now.
Because
of his creative genius, his skill, his vision, and his recognized greatness in
his day, succeeding generations have made sure that Da Vinci’s masterpieces
have survived.
This
is the goal we are shooting for here – that our creations, while not world
renowned, will be so appreciated by our future generations that they will take
the time and care necessary to keep them safe and beautiful.
So, assuming that you have used the absolute best materials available for your creation and have constructed it to the best of your ability, how do you preserve it for future generations?
Deciding the Monetary Value of Your Quilt
The first thing is to ascertain about your quilt once you’ve finished it is its value; not just emotionally, but monetarily as well.
It’s
always going to be easy to love your quilt and adore it for the memories that
went into it and around it. It’s a lot
harder to put a dollar figure on it – not because you don’t value your quilt,
but because you probably don’t value your time and skill.
That’s
a whole other problem, by the way, and we may address it in another
episode.
For
now, just know that, being humans, the higher any object is valued monetarily,
the more it’s valued by us. When you’re
figuring out the value of your quilt, make sure to add in your time with a
decent wage. As well as:
The cost of all
materials
Wear and tear on
your machine
And the cost of
the utilities (heat, electricity, etc.).
When
I first started doing this, I was stunned by how much these creations really
cost.
Keep
track of the time you spend on each project.
This is hard for me because I tend to get in the creative zone and
that’s all I really care about.
Thankfully, Suzanna’s a little more hard-nosed when it comes to business
and keeps me honest instead of me just estimating.
Of
course, telling someone (like my sister) how much the quilt I gave her was
worth and how to take care of it properly doesn’t always work, but at least I
did my best to insure it was protected.
The
bottom line is, you preserve your quilt best by attaching an honestly high price
tag to it.
Now,
the real question: How to clean a quilt?
The quick answer is, clean your quilts and other fabric art projects as seldom, and as gently, as is humanly possible, because of one central principle you MUST remember:
THE MORE YOU WASH YOUR CREATIONS IN A WASHMACHINE, THE FASTER THEY WILL DETERIORATE!!!
4 Ways to Keep Quilts in Pristine
Condition
So,
with the idea that you will only wash your pieces twice a decade – here are
some ways of keeping a quilt clean:
Avoid beds if your family is
careless or your materials were necessarily fragile…
Fold your quilts carefully, placing acid-free tissue paper in between each fold, and store them away in a cedar chest, or a zipped plastic bag, etc.
Display them on walls, stair banisters, etc. where they are only decorative objects and are never used.
When using your quilts on a bed,
take proper precautions…
Put them on your beds, but never sit or lie on them and take them off before you go to bed.
This is just using your bed as a display item, and gets old very fast – at least for me.
Put them on your bed, but keep a folded blanket at the foot, and lay this over the quilt before you lay down on the bed.
I
like to read on my bed and take frequent naps so I do this religiously. I’ve trained Michael and the kids to do this
as well. This does 2 things; keeps the
quilt clean and stops most of the wear and tear it would otherwise incur.
How to Clean a Quilt
When I do feel the need to wash one of my quilts, it’s only every 3-4 years, and then I take it into a laundromat with extra-large washers. I wash my masterpiece on a cool, gently cycle and use as little as possible of a (very) gentle soap – such as Woolite – to wash it.
Then
I bring it home and hang it to dry.
In
10 years of use, my queen sized double wedding ring quilt has been washed 3
times and I’ve only had to repair 2 slightly opened seams. In contrast, my sister completely ignored the
care instructions I sent with her queen stack & whack quilt.
My
infidel of a sister not only laid on the naked quilt, but let her husband eat
cereal (with milk & sugar) while watching TV on it!
…And let the dog and cat use it as a 2nd bed.
OK, yes, this was our cat, on our unfinished quilt top…But that was a rare occurrence during the quilting process and we had to lint brush it anyway!
As
a result, that quilt was washed so often that it is completely worn through in
many places and she has had to put it away for good, and it’s only 7 years
old. Take heed, readers: if you want to
pass your quilts down the line, treat them gently.
How to Clean Table Toppers
Smaller quilting projects are just as artistically wonderful as the big quilts, and keeping them clean can be quite a challenge, especially if you have younger children. But, with careful handling they can be kept nicely for many years.
Don’t set containers of food directly on your table toppers.
Use
potholders or privets for this purpose.
Don’ lay any utensils on it either – basically the table topper is just
there for looking at and for ambiance.
Change your table toppers out frequently (every couple of months).
I
like to have my toppers reflect the changing seasons, so mine get switched out
4-6 times/year, since I also change them for the big holidays. This reduces the amount of wear on each table
topper.
If any food, etc. is dropped on your topper, only wash out that spot – by hand and with a gentle soap and leave it to dry naturally.
When I remove the topper to replace the one I have been using, I check it carefully for dirt or stains – I fix these if there are any by washing them on the gentle cycle and air drying them.
For extended life, use a lint brush
Before
storing my table runners I run a lint brush over both the front and back. It is simply amazing how much yuck a lint
brush can pick up.
How to Clean Wall Hangings
The first thing to
make sure of is that your wall hanging is well supported and not just sagging
against your walls.
If
the hanging is small enough or doesn’t weigh much, I often secure it with thumb
tacks right at the corners where the binding meets the main body of the
hanging. I do this on all four corners
using clear tacks and most people never even notice them.
For larger or
heavier hangings, I sew a hanging sleeve on the back, insert a dowel and hang
it from that.
This
is a very nice professional looking choice, and if you hang a lot of your
creations on the walls, I would recommend this.
If you have small
children, place your hangings up high enough that curious, sticky & dirty
fingers can’t reach it.
The
greatest challenge for wall hangings is the dust, and depending on where you live
this can be a real problem. Because I
live in the Southwest, dust is my nemesis.
To circumvent
this, I change my hangings out frequently and lint brush them front & back
before I store them away.
If your fabric art has been hanging around a long time, the dust film can become slightly oily and this does not come off with a lint brush, so it will have to be washed. Once again, use a mild soap on a gentle cycle with only warm water, and air dry.
However, if your wall hangings, like many of mine, have elements that will be destroyed by water, then dry cleaning is your go to option. Thankfully, Woolite has come out with an At Home Dry Cleaning product that comes in sheets that you just throw in the dryer with your item.
Set
your dryer at a medium temperature if you can, and only let your item stay in
there for 5 minutes – SET the timer!!!
This
will clean off any oil or dirt that has accumulated on your hanging without
dissolving or softening any fabric glue or non-washable items on your hanging.
How to Keep a Quilt Clean with Long-term
Storage Techniques
If
you keep a lot of the things you make, they will begin to pile up, in a big
way, and you just can’t store everything in cedar chests.
My
solution has been to use the 18 gallon rubber storage tubs with lids that you
can get anywhere.
These tubs store fabric – I use much bigger tubs to store my quilts!
As
well as the plastic zippered bags that sheet sets, quilts, mattress pads etc.
are sold in.
These
are great because they are see-through, come in a lot of different sizes, and
are squashy, so you can really stuff them in.
When
I run low on these, I go to my local thrift store and ask for them at the desk,
they usually have a bunch. These are
also great to use to ship your creations to family and friends because they
insure that your item will arrive in pristine condition.
If you follow these few, simple guidelines and encourage your family and friends to do the same, your creations should survive the test of time – maybe not as long as Da Vinci’s have, but long enough that your grandkids & great-grandkids will be able to appreciate your creative genius!
P.S. Special Thanksgiving Surprise!
To thank our subscriber readers during this Thanksgiving holiday, we’re offering an unprecedented 10% discount coupon throughout our entire store, here at Etsy.com. The newsletter with the coupon will be mailing tomorrow – and this opportunity will be gone with it if you haven’t already subscribed, so I do urge you to do so!
Once upon a time we here at Princess YellowBelly had a dream about amazing dragons flying through blue skies on jeweled wings – in fact it was so realistic, that we decided to capture the “Dragons in My Window.”
From the beweled dragon
in the center, forever flying across a flawless blue sky, to the black
silhouette dragons guarding the outer edge, this is a quilt to stir your
imagination and love of magical lore.
Where Dragons Are
In land afar and time away
When mighty dragons still held sway
There was a sanctum for man and beast
West of the sun and two stars east
There a monolith thrusting high
Was guarded by dragons from sky to sky
In the abbey down the leath
They immortalized in song and keath
The mighty deeds of guardian knights
And their awesome steeds who flew like kites
Their deeds were legend, their hearts aflame
So when the cataclysm came
The abbey and all who called her home
Were tenderly ensconced in stone
For many eons their they slept
Till a modern child through entrance crept
Finding there a treasure trove
Of dragons that had hearts of gold
Stained glass windows wrought with jewels
Told the ancient tale of Kule
Now at PYB the dragons rise
Once again on fabric skies
Guardians, as they ever were
On quilts that tell their tale so true
Watching over me and you
Dragons in My Window is a double quilt that will also fit a twin or extra-long twin as shown here
So it begins.
Dragons romp
across a stained glass quilt rich with vivid, jewel-tone colors and dramatic
black accents.
Dreams of kingly dragons
and beautiful jewels all come to life in this one piece of fabric art.
Dragons in My Window is an original quilting and fabric art design.
Indulge your medieval dragon fantasies with this one-of-a-kind stained glass quilt. Dragons in My Window is a large twin-sized for boys or girls of all ages who love dragons, medieval lore, and fantasy stories.
FINISHED QUILT DETAILS
Princess YellowBelly’s stained glass window medieval dragon twin quilt:
• Measures exactly 73 inches wide X 85 inches high
• Predominant colors are blue and black
• Secondary colors include royal reds, greens, golds, and purples
• Dragons in My Window is a full-sized twin quilt that will fit a regular or extra-long
twin bed
• Backed with black batik fabric
• Dragons in My Window ships tagged – either generically or with specific
personalization
• Is a sturdy and heavy quilt, very warm
• Ships via registered priority mail, to provide insurance and specialized tracking
• Is a vividly realistic depiction of a stained glass medieval window
Dragons in My Window was created using the finest materials available, including quilting quality batiks, landscape fabric, and limited edition jewel-tone fabrics. Other materials included thin warm and natural cotton batting, high-quality cotton thread, hot fix crystal eye, and black grosgrain ribbon.
CARE & CLEANING
Dragons in My Window is an easy-care piece.
• Recommended care and upkeep with a lint brush
• Machine wash (cool, delicate cycle with a gentle detergent) if needed
• Can be tumble-dried, although air-dry is recommended
• May be cool-ironed (cotton settings) to remove packing wrinkles. Safe to iron with water or spray-starch (recommended to use spray starch ironing mostly on the back to avoid residue build-up on the quilt front)
FINISHED QUILT DISPLAY OPTIONS
Dragons in My Window can be displayed either on a double-size bed, or be hung from the wall or over a staircase.
There is an option to personalize this quilt’s nametag. Rather than calling it “Dragons in My Window” when we affix the tag, we will instead write in your possessive first name, for example: “Dragons in Ken’s Window,” or “Dragons in Erin’s Window.”
CUSTOM ORDER (not available)
Due to the complicated and labor-intensive effort that went into making this quilt, and the fact that the jewel-tone fabric is no longer available, there are no custom orders of this item available. There will never be another one.
However, we’re currently working on creating a pattern out of this quilt – so please stay tuned for that. You can sign up for updates via our newsletter sign-up at the bottom of this page.
LAYAWAY OR PAYMENT PLAN OPTIONS
We completely back up our artistic work both in originality and in quality. We always price our items at the best possible options, considering material, quality, labor, uniqueness, etc. But we do realize that these prices can be a little intense.
Which is why we’re happy to offer customizable layaway or payment plans.
If you can’t handle the entire cost up front, please contact us through our shop. We’ll be happy to discuss breaking the payment into two, or three, or even more payments according to your need and time schedule.
Thanks for Your Time
Thanks for taking all the time to read about our “Dragons in the Window.” We hope that you like this new quilt. Please leave us a comment, and look at it over at our Etsy.com store via the “BUY NOW!” button.
(You don’t have to buy if
you do click the button, Etsy.com has it’s own checkout process. This is just a link to the listing.
We’ll see you next time,
have a great time dreaming of dragons until then!
Experience the Magic of the Holidays by Making Your Own Christmas Bells Table Topper
One of our very favorite times of year is Christmas.
The trees and holly berries
The rich colors
The great food
The wonderful smells
The sense of family
And the sound of ringing bells
I’m not sure what it is, but I’ve always loved the sound of church bells ringing. Princess YellowBelly had to move headquarters last year, and we find ourselves now living on “church row,” there’s got to be at least four churches within our block.
And they all ring their
bells for Christmas day.
In case you’ve never
experienced this, it’s truly a magical, emotionally touching experience. It’s
almost like being in a Hallmark card – so we naturally wanted to share that
feeling and sense of seasonal beauty in the medium of fabric art.
To that end we created a
distinctive new table topper/wall hanging pattern that we think celebrates the
season of ringing bells in the best spirit.
This pattern can be used with any set of holiday colors that you like!
Variations - Pattern or Finished ToppersProduct DetailsCleaning, Custom Orders
VARIATIONS – PATTERN (16.50)
From our original panel we’ve created an easy-to-follow step-by-step guided pattern for the Christmas Bells Table Topper. With this pattern you can easily make your own Christmas Bells Table Topper, following the instructions (with accompanying graphics!)
Skill level is “intermediate” meaning you’ll find this easiest if you already know how to:
• Applique
• Use a satin stitch
• Handle thick trims & accessories
• How to cut out precisely
• Read a pattern from beginning to end before following the steps
• Quilt
• Sew on buttons
If you’re starting to push the boundaries on your quilting skills from beginner to intermediate this would be a great project, since it will be a learning curve – but a gentle and fun one.
The Christmas Bells Table Topper Pattern includes:
• Step-by-step instructions with accompanying graphics
• A master-template size 8X10
• A full-size hand-traced template for cutting apart
GOLDEN BELLS FINISHED TABLE TOPPER (132.45)
Or you can simply purchase one of our completed table toppers/wall hangings.
The first completed topper is the Golden Bells Christmas Table Topper. This one is five dollars cheaper than the silver bells since the silver bells required more material and time.
MERRY CHRISTMAS USA FINISHED TABLE TOPPER (137.55)
This is our silver, blue, and red Christmas Bells Table Topper. This one is a little distinct from the Golden Bells Table Topper because Merry Christmas USA is made with hand-cut holly leaves, and the blue bells are covered with glittery chiffon.
Otherwise the details are the same, trading out trims and colors.
FINISHED PANEL DETAILS
Princess YellowBelly’s original Christmas Bells Toppers:
• Measure approximately 23 inches in diameter (allowing for variations in the uneven edge)
• Predominant colors on the Golden Bells topper are gold, red, and green
• Predominant colors on Merry Christmas USA are silver, blue, and red
• The Christmas Bells Table Toppers are round with an edge that’s trimmed to the “wreaths” of holly leaves to create an uneven edge
• Backed with black fabric
• Each panel will ship tagged or named
• Weighs very little
• Folds into a surprisingly small and flat package
• Is a vividly realistic custom table topper and wall hanging
The Christmas Bells Table Toppers were created using the finest materials available, including quilting batiks, thin warm and natural cotton batting, high-quality cotton and metallic threads, fancy buttons & ribbon trims, silk holly leaves, foam holly berries, and backing foam.
FINISHED TABLE TOPPER/WALL HANGING DISPLAY OPTIONS
Either of the Christmas Bells Table Toppers can be used as a table topper or a wall hanging.
We use regular household thumbtacks to secure our fabric art panels for display. They hold the panel tight and fabric is self-healing, once the tacks are removed the holes will close up again.
If you would like to discuss customized display options, please contact us directly!
CARE & CLEANING
The Christmas Bells Table Toppers are easy-to-care-for.
• Recommended care and upkeep with a lint brush
• Machine wash (cool, delicate cycle with a gentle detergent) if needed
• Can be tumble-dried, although air-dry is recommended
• May be cool-ironed (cotton settings) to remove packing wrinkles. Safe to iron with water or spray-starch
CUSTOM ORDERS
Do you like this original Christmas table topper design?
What are your feelings about the shaped design and realistic recreation? How about the sparkly buttons and the differences in ribbons and colors?
We’d just really love to
hear what you think, and get any feedback, comments, and requests. If you have a specific question, you can
contact us directly at karyl@pybdesigns.com, or on our
contact page.
Please favorite our shop,
and come see us again soon!
I
have recently been constructing some new patterns – which will be debuting for
your fabric art enjoyment in the next few months. The great thing about creating new quilting
patterns is that it gives you a lot to think about, creative food for thought,
so to speak.
However,
as with any creative journey, stepping off the beaten trail can raise
interesting problems.
And as I was contemplating how to get around a problem that was not cooperating with my genius, it occurred to me that of all the ways I could think of to fix it, all of them came out of the kitchen.
Many creative endeavors mirror each other’s techniques – including two you might not expect, cooking and sewing
So
then I started looking back at all of the things I’ve designed and realized
that almost all of my designs originate from 6 types of food that we all know and love.
Drawing Inspiration from the Kitchen
in Your Fabric Art
I
also realized that strategizing at the beginning of a new project is much
simpler and quicker if I think in terms of these 6 foods. So, for all you brave adventurers in the
fabric art jungle, I thought I would share my insights with you.
The First Food for Thought – Casseroles
Casseroles are a basic and frequent dish in my household because they are easy, quick and delicious. Everything in one dish and voila! Dinner is done!
Many
fabric art patterns mimic this very same concept – especially quilts.
With
a quilt or a large wall hanging the basic principle is to keep adding design
elements in all directions until you have both the size and the design you
want.
Mostly
you start with a main design element.
This could take the form of:
A panel
An applique design
that is the main focus
Or a basic pattern
structure and you move out from there.
These
“Casserole Quilts,” are beautiful, functional and meet many needs at the same
time – just like an edible casserole! They often tell stories, but the tales
they tell are not as involved or intricate as the stories in a specific
subcategory of casserole quilts.
Secondary Casserole – the Casserole
Pie
A
second type of casserole is the kind with a bottom crust, but no top. Let’s refer to this as the casserole
pie.
You
start with the bottom crust (background) and you layer all of your ingredients
(design elements) into it.
If
you were making food, you might include things like leftovers from the fridge,
a can of mushrooms, or even fresh vegetables that are going a little limp. But when we talk about making a casserole pie
quilt, you’re adding visual storytelling elements.
In
this type of construction, almost all the design elements you will be adding
are appliques and bling.
With a casserole pie quilt you are telling a story, not showcasing a specific design so that each project you make like this is totally unique. My best example of a casserole pie is my Coral Reef panel where I added almost 200 appliques onto my background.
It
took some time but it was well worth it as I never get tired of looking at it
and every time I do, I find something new to amaze me – even though I made
it.
When
I finished it, the kids all begged me not to put it in the shop to sell as they
were as fascinated by it as I was.
This
kind of project is time-consuming, but like I said, well worth it.
The Second Food for Thought – Turn-Overs
These are exactly what they sound like, and they work the same way in fabric art as they do in the kitchen.
When
you turn the completed project over, you have a finished product with a
beautiful, and uniquely finished edge. The beauty of this type of design is
that when your project is turned right side out all the edges are neat and
finished.
The
ingredients are placed on a bottom crust, the top crust is added, and you flip
the entire thing over or in fabric art, right side out.
I use this technique often in smaller projects such as my Maple Leaf Table Runner, The Autumn Spinner, and my Specialty Christmas Stockings (coming soon).
These
fabric art turnovers are made with a specific process, which I do videos on in
various patterns.
Start by
constructing a slit in your backing fabric and then laying it right side
up.
Next, lay your
background fabric right side down on top of this, and then place your batting
on top of that.
Then pin your
template on top of that and sew all the way around the design.
Trim closely with
scissors and then turn the entire piece right side out through the slit.
Finally, push out
all edges with a corner turner and press flat.
Voila! You have a neat and finished piece.
The Third Food for Thought – Sandwiches
In
most places I refer to a quilt sandwich as being three simple layers – backing,
batting, and the front of the quilt. But
in this case I’m talking about a specialty method which is still in
development, and I’ll soon have some products, namely my Christmas Stockings,
available to show you.
For
now, let’s break it down in basics:
Just
like in the kitchen, fabric sandwiches are constructed using 2 pieces of fabric
– except here we use turn-overs as the pieces of bread. I make fabric sandwiches when I have a back
and front to a project with an opening in the center – like a pocket. Most of my Christmas Stockings are
sandwiches.
First
I construct the backs and the fronts separately using the turn-over method,
then I layer the 2 pieces and sew them together around three sides, leaving the
4th side open for the pocket.
Sandwich
making is an extremely handy skill to acquire and when they are made correctly
will awe all of your friends and acquaintances.
The Fourth Food for Thought – Layer
Cakes
Layer cakes in the fabric world are constructed exactly the same as in the culinary world – one layer at a time. Most of my fabric art panel projects are layer cakes because they lend themselves to this technique beautifully and are the easiest way to construct them.
Layer
cakes are built starting with backing fabric, then either batting or foam,
background fabric, and then however many layers you put on top of that.
The biggest layer cake I have made to date is My Pad, my frog on a lily pad panel. It is 7 layers thick and for the final layer I had to use a size 16 needle as I used 2 layers of batting and1 of foam in the construction of this. This project was a lot of fun to make, but most of my layer cakes are only 4 layers (backing, batting, background and the design elements).
This
type of project is only limited to your imagination and how strong your sewing
machine motor is – so be bold!
The Fifth Food for Thought – Pie
Crusts
This is a technique I have just thought up and used it for the first time on the Freedom Flight piece – which is my eagle.
I
tried a couple of the above methods first but nothing worked as the tips of the
long feathers were impossible to turn so there was no finished edge. Finally, after a lot of frustration I decided
to try finishing it off all around the outside with a tight satin stitch – and
it worked…
…Mostly.
I’ve
been working on my technique and have discovered a few tricks to help make it
an easy and viable choice for some projects.
When I am sewing a
“pie crust” type of project, I construct it on a piece of fabric that is larger
than the design.
Then, when my design is all there, I sew around the outside of the design with a ¼” margin all around the outside. Then, using a sharp-tipped scissor, I trim all of the excess fabric away as close to the stitching line as possible without cutting through it.
When
you finish doing this, you will have your design all finished except for the
edge.
Here’s
why I call this technique the pie crust – I have all the ingredients on the
inside with a top and bottom crust & I finish the edge by crimping (satin
stitching) the edge to give it a nice finish. Keep your project nice and tight
as you feed it through the machine and go slowly so the satin stitch covers all
of the edge.
I get out the “evil”
quilting pins for fine-point work.
As in the case with my long eagle feather tips, sometimes you will have points that are impossible to get a nice, smooth satin stitch on if you go right to the points. Plus, you’ve got to hold those points tight when there’s literally no material available to put your hand down on.
I
solved this by using one of my long quilting pins, poking the tip through the
entire point and pulling gently with the rest of the pin to hold the point
tight.
Then
I stop sewing approximately ¼” before I reach the very tip, turn my fabric, and
still holding the point tight with the pin, I start sewing down the next side.
This trick of holding the point with a pin tip works a treat and takes all the
screaming and frustration out of crimping this pie crust.
Once you have
satin stitched all around the outside and are pleased with the coverage, use a
small, sharp-pointed pair of embroidery scissors to trim off all stray
threads.
Stray threads are inevitable, but it is the work of moments to trim them off.
Also trim off the very end points that you left unsewn, and your project is finished, nice and neat – and – if you sewed the outside edge with variegated thread – as I did in Freedom Flight – visually interesting.
The Final Food for Thought – Stuffed
Crust
This is my version of the stuffed crust pizza. Which delightful invention, by the way, is the only reason I ever darken the door of Pizza Hut.
When
you need foam inside of a shaped pattern, such as a stocking, none of the
previous methods will work because foam is too thick to turn like a pop-over or
to do a pie crust edge around.
Then
I thought of the art of stuffing something and hey-ho! It works!
It
works when you cut out 2 exact same shapes out of fabric and a matching foam
shape that is approximately a ½” smaller all the way around.
With wrong sides together and using a ¼” seam width, sew the shape together leaving an opening anywhere from 6 – 9” long depending on how large your foam shape is. Turn your fabric piece right-side-out and push out all curves and corners.
Iron
flat making sure the seam is not twisted to the front or back, and iron over
the opening edges with a ¼” seam.
Carefully
insert the foam shape through the prepared opening adjusting to fit.
When
you are satisfied that it’s positioned correctly, stitch down the opening as
close to the edge as possible.
And
that’s it! These are the 6 main sewing techniques inspired by foods from the
kitchen. At least that I can think of
right now.
But
as time goes on, who knows – genius is an unpredictable thing!
Please put your hands
together, and push your reading glasses a little higher! It’s time to welcome our newest Seam Ripper
Champion – Jolene Noyes! Jolene’s a unique fabric artist who’s already
shared some of her amazing ideas with Princess YellowBelly Designs. Now she’s kindly shared a horror story that
many of us can empathize with – a story of how we were all almost terrified
away from the sewing machine, forever…
In fact, Jolene’s story
is so significant in the creation of our Seam Ripper Championships, that I
(Karyl Fitzgerald) have added my own similar story to the end of this tale of
woeful seam ripping. But now, without
any further ado, let’s hear from Jolene!
The Dangers of Sewing in a Home Economics Class
“My story goes back to junior high, another time, another country, and a home economics class which I never have and never will forget.
Home economics was a combination of cooking, sewing, and homemade-type crafts. I did just fine and still do with the cooking, but it was the sewing that got to me. We were required to make a skirt and vest combo. Vest, very simple. Skirt, elastic waist, very simple.
NOT.
I don’t remember the
actual sewing of the pieces, but I do remember the day we tried them on.
My vest was lopsided. One side was up by my breasts (although I didn’t have any at the time), while the other side was down by my waist. My skirt was ok except for the huge, huge elastic waistline. I was devastated, I cried, I was embarrassed and thought for sure that all the other girls in my class were laughing at me. I am sure that I went home in tears. But, at least I had got it done!
Well, I am sorry to say that was pretty much my last sewing adventure.
Although I did have a couple of other chances to sew, I did not enjoy it and was again, no good at it. Perhaps, that is the curse of having something go, so wrong, when you are so young. If I were to do it now, or had my grandkids doing something like this, I would make sure to sew again, right away and rid myself of any bad feelings about sewing.
Jolene Noyes is a terrific artist & fun storyteller. Whether she’s sharing tips on how to turn plastic trash into hip purses, or waxing eloquent on the trials of home ec classes – she’s got something to tell you.
A resident of the beautiful state of Colorado, a traveler, and a fun person – she’s definitely earned the title of “Seam Ripper Champion!”
The Big Lesson – Get Back on the Sewing Machine Horse
And, that is my lesson in all of this…if you make a mistake, go back and correct it and don’t be afraid of your lack of skills. Sew anyways. I look at this now, and laugh, but I am still sorry that I did not become a better seamstress but I do have other things now that I am talented with so it is alright!”
By the way, Jolene really did become quite the artist on her own. This is one example of her vibrant, creative personality bursting out – but you can find out all about that over here, in another story.
But, for now, I’d like to jump in and say that
Jolene’s experience is, by no means extraordinary. In fact, something very similar happened to
me:
Which is Why Princess YellowBelly Almost Wasn’t
Reading Jolene’s experience with her Home Economics sewing experience, took me straight back to 7th grade. In my home ec class I had a sewing teacher who was so incredibly picky that she gave me a D-, all because the checks on the backside of the hem on my gingham apron didn’t match the checks on the apron itself.
She made me rip it out 4 times before I finally gave up.
Next came the potholder assignment. Which I also was failing at horribly.
What was even worse, was that my Mom, who was a vastly experienced seamstress, took pity on me and helped me put the binding around my potholder, and for the job she did on that I received an F.
Even after all these decades I can see that teacher clear as day in my mind and hear that nasally-whiny lecturing voice.
I was so mad at that teacher and loathed her so much, that the loathing transferred straight into the idea of sewing, at all, ever.
So, I was quite amazed at myself when, at 17, I decided to take another home ec class.
Karyl Fitzgerald is the head seamstress for Princess YellowBelly Designs. She also comes up with most of our original designs and quilts, and writes a great deal of the helpful content we feature here.
She also has been a Seam Ripper Champion herself. First in 2018, and then again as the second quarter Master of Disaster in 2019. Like Jolene, she’s a late-term survivor of an early home ec disaster class…
Different school,
different teacher. This time, I made a
skirt for my little sister. And not
until I had it all put together with no extra fabric left over, did I realize
that 2 of the panels were upside down – little angels scampering across the
landscape on their heads.
This teacher didn’t ding
me for that, but she did laugh at me.
I later became a school teacher, by the way, and I know that the worst way to deal with a bad learning experience is by laughing at your struggling student.
Why You Should Try the Horse Again
Those 2 experiences
soured me so much on sewing that I didn’t try it again for another 17 years
till Suzanna was born and my creative gene started kicking at my brain. Lo and behold, I could follow a pattern and
put together nice things for my kids!
With these successes
under my belt, I gradually got bolder and made them each a baby quilt and then
toddler quilts and the more creative I was, the better we all like it.
So step by step I moved
into fabric art.
It took quite a few
years, but now I am practically fearless when it comes to letting my
imagination run wild, making up my own patterns, and experimenting with
different and new techniques.
I’m still deeply
anti-matching-corners, however.
So I would encourage you, dear reader, if you like sewing but don’t like all the rules and picky stuff that comes with sewing clothes or “accepted” quilting patterns, pursue the road less taken. Try different things, explore, imagine. Try getting into fabric art, or doll making, or even crocheting and knitting – which is something Jolene turned to – or anything else that strikes your fancy – just don’t stop sewing!
Princess YellowBelly Designs has enjoyed sharing these stories with you – but, as always, in another three months we’ll have another story up to demonstrate how real artists have struggles with fabric art of every breed and variety. If you have a great story for us, you can check out the guidelines and then send us an email at karyl@pybdesigns.com.
Thanks! We’ll see you next week with a new how-to article, and other great content. To the greater good of your quiltivity,
You
can use a lot of different techniques and materials to create vivid, realistic,
3D images in your fabric art. One of the
coolest materials is embroidery thread, and the many techniques you can use to
apply it to quilts, panels, and wall-hangings.
In this article I’ll show you how to use embroidery thread, and yarn, to
outline and uniquely highlight your quilting and fabric art projects.
Outlining
your work as you go should be a constant in your thinking as you plan your
masterpieces. Just like in any other 2D
art-form that strives to represent 3D reality, like:
Regular embroidery
Crewel
Needlepoint
Cross-stitching
Painting
And coloring
Placing an edge around your creation creates depth, shadows, interest, and gives your shape a definitive edge that is extremely pleasing.
From the subtle to the dramatic – embroidery thread & yarn add impact
Colors of an Outline
An
outline edge is usually a darker shade – but not by that much. The more it gently blends into the greater
body of work, the more effective it becomes.
If,
for instance you’re trying to give depth and meaning to a strip of red fire –
you might try using a very thin line of crimson or burgundy. A mottled green background, on the other
hand, can be made very realistic and 3-dimensional by sewing random stippled
lines of dark hunter green throughout.
The
exception to that rule are blacks and grays.
For
some reason – probably because these are the colors of shadows – black and/or
dark shades of gray work well as the edging color for almost everything.
Occasionally,
however, you’ll want to use a lighter shade of the same color – even a
white.
This
is where studying photography comes into use.
These are highlights, or blown-out colors, just like it pictures. We use these colors to express light,
reflected light, sunlight, even candlelight.
The lighter the shade is, the closer our eyes will tell us it is to the
point of light.
When
I was doing my mermaid, for example, I wanted to make her hair more textured
and 3D than the printed panel allowed.
So
I used pale yellow embroidery thread to trace out her hair – and it looked
really, really weird. It actually turned
our mermaid kind of ugly.
Then my daughter – who’s a photographer – pointed out that she had two colors of hair, the white-blonde that was being hit by the “sun” and the dark blonde over her shoulders, in the “shade.”
I
pulled out the light embroidery thread over the mermaid’s shoulders and
replaced it with a darker gold. The
result was – if I may say so myself – stunning.
How to Use Embroidery Thread
I
am a big fan of outlining different areas of my creation and usually it’s the
major focal point that I take extra time with.
There
are a number of different ways to highlight different shapes such as satin
stitching, ribbons, sewing “rope”, etc., but the technique I want to go into
depth here is how to use embroidery thread and yarn to create unique outlines.
The
same techniques work equally with either embroidery thread or yarn, by the way.
Step One – Double Edging Principle
Because
outlining with embroidery thread takes both hands, there is no free hand to
smooth down the edge of the shape you will be outlining. This makes it extremely difficult to catch the
edge of the fabric with the embroidery thread.
I
did this on my first outlining project and hated the end result, so I figured
out a way to nullify this problem. Of course!
I use matching thread on the top and with a narrow zig-zag I sew down around all the edges of the shape to be outlined BEFORE I even bring out the embroidery thread. This way, your fabric edges are neat and secure and you don’t have to give them another thought as you go around your edges.
I
know this sounds like you’re sewing the edge twice, and you are, but the extra
time and thread is way worth it because it ends the frustration of outlining
and leaves you with a neat, attractive edge.
Trust
me on this, take the extra time necessary!
Step Two – Have the Best Possible
Needle
The
first thing is to have the right needles.
Trying
to do this with a regular embroidery needle is almost impossible and so
frustrating that you’ll never want to highlight with embroidery thread or yarn
again. The solution is to use a
large-eye hand sewing needle, but this can be a little tricky to.
Yarn,
as you know, varies from thick to thin, but even the thinnest yarn is too thick
to pass through the largest eye of regular sewing needles.
Even
embroidery thread, when used on a quilt, can get to be a lot, very fast. When I highlight with embroidery thread I use
2 sets of 6 strand thread and this makes quite a thick rope. To clarify – embroidery thread comes in a
strand of 6 threads. When you embroider
with it normally, you separate the strands into threads of 2 or 3 threads each
and this goes easily through the eye of an embroidery needle.
However, when I highlight with embroidery thread I use 2 complete strands of 6 threads each, so this is 12 threads in total.
It’s quite thick and you can get one strand through a large-eyed embroidery needle, but getting both of them through is almost impossible and you can forget about yarn completely.
Like anything, there’re ways to get it done, it just takes a while, and I don’t have much patience.
So, I have just ordered 2 different sets from Amazon of hand-sewing needles. Both of them have especially large eyes, and one looks to be sharp, as well. Hopefully these will take the frustration out of this part of the process.
If any of you readers have any knowledge of any other kind of needle I would sure like to hear from you!
Step Three – Getting Enough Line
Having
to stop and start continuously because you’ve run out of thread is a MAJOR pain
in the neck! So you need to get enough
line to finish an area. And – after some
trial and error – I’ve come up with a way to eliminate the guess factor.
Take
a rough measure of the area to be outlined and double it, at least. Ideally your thread should be 2.5 times
longer. So, if the area is 10” make your
thread length 25”.
Even
up both strands of thread at the bottom and tie one knot. This is a large knot, but it disappears
underneath the batting or foam and no one will ever notice it.
Leave
about 7” of thread hanging through the top of the eye so that the thread won’t
pull out as you sew.
You’re now ready to start.
Quick note: Just as in
all embroidery, the inside of your pattern should be completely finished before
you start the outlining.
An extra note when quilting:
I don’t outline entire panels, I simply pick the focal points and
outline these.
And a bonus note, as well.
Along with the outlining procedure, I place either an extra layer of batting or a layer of foam behind the image to help it pop and I do the outlining before I put the backing fabric on.
This
way the embroidery knots and thread as you move from one area to another are
completely hidden inside the panel. Of
course this means that you have to plan ahead which areas will be highlighted
and when.
For example, on my Ocean Maidens quilt, I decided that I would outline the main mermaids’ tail and highlight her hair with embroidery thread.
I
started by tracing just her shape onto paper, making a foam cut-out from that,
and putting the foam just behind her.
Then I did all the insides and the highlighting and outlining first. Then I placed a layer of batting over the
entire back of the panel and continued on, thus hiding all my embroidery
mess.
On My Pad, I did the lily pad and frog first, using embroidery thread to outline all the different sections of the frog before I placed it on my backing/background sandwich. So, if you’re planning to highlight, plan carefully how you will construct your project before you make the first cut.
Step Four – Choosing the Right
Colors.
When
you think about how to use embroidery thread correctly, one of your primary
concerns should be color. One of the
next should be shading.
Once
you are ready to highlight or outline, think about the colors of the shape
you’re outlining.
As
I said, I use 2 different strands of embroidery thread and usually I use 2
shades of the same color – one dark and one light. I try to match the colors to those in the
fabric.
Step Five – Sewing with Embroidery
thread
As
a quick aside, pulling the needle with the 2 strands of thread through either batting
or foam can be quite difficult.
One way I get around this is to appropriate Michael’s needle-nosed pliers and use them to pull the entire thing through to the front of my project once I push the tip through. A good fitting thimble is another extremely useful in saving in saving your fingertips when you are pushing the tip of the needle through to the front.
Once
your needle is through, pull gently until all of the thread is on the
front. Then pull the thread out of the
needle. Thankfully, we’re done sewing
this stuff by hand!
The
thread you have in your sewing machine should either match your embroidery
thread, or be invisible as it is the outlining effect of the embroidery thread
that you want to emphasize here.
When I highlighted the mermaid’s hair, I used gold shimmer thread in my machine so it would sparkle just a little and make her appear more magical. So think carefully about your choice of sewing thread.
Once
you’re ready, set your machine on a narrow zig-zag stitch, just wide enough to
cover the 2 strands of embroidery thread, and set your stitch length
approximately halfway between a regular stitch and a basting stitch – so not
real tight but not too loose either.
Step Six – Tips to Finishing in
Style
To
maximize the effect of the 2 shades of embroidery thread, grab hold of your
thread about 5” away from your sewing needle and start twisting it gently
together, laying it down along the edge of your design and sewing it down as
you go.
This
is why you need at least double the length of your shape, the twisting takes up
a lot of thread but it makes a delightful edge.
Besides, embroidery thread is relatively cheap.
When you get to the end of your outlining, re-thread your large-eye hand sewing needle and pull the thread end through to the back.
For sharper highlights, one alternative to a satin stitch is using embroidery thread strands
If
you’re all done, knot it off.
If
you’re not and you have another area to outline walk your thread over to the
next starting point by weaving it in and out of just the batting or foam
layer. Bring the needle back up at your
new starting point and continue on as before.
This
technique leaves you with a beautiful outlined edge and all the mess invisible.
If you want to use yarn to outline instead of embroidery thread, the technique is exactly the same BUT I NEVER use 2 strands of yarn – it just becomes too thick and even with the aid of the needle-nosed pliers it is impossible to pull it through the fabric.
Yarn
gives a much higher definition to your outline and increases the 3D effect of
the object being outlined. I used black
yarn to outline the seams of the treasure chest in my Ocean Maidens quilt and
it really helped it to appear more realistic.
NOTE: There are
times when you might want the outlining to be the focal point of an area as
when I used a Christmas red and green together to outline the wording on my 12
days of Christmas panel.
Also, sometimes you may only need one strand of 6 threads to make your point if the thread is in high contrast to the fabric. I only used one strand of black embroidery thread to make the outline of my eagle’s eyebrow on Freedom Flight.
Outlining is Essential!
When
I first started cross-stitching many years ago I thought that my images looked
just fine without the outline stitches.
Mostly I was just lazy. My friend
Jenny was totally disgusted by my attitude and took my piece away from me and
did the backstitching herself so that I would see the difference – and it was
HUGE.
NEVER
underestimate the bang you will get for your buck when it comes to outlining
and highlighting. Take the time to do it
– you will never regret it!
I
hope you’re enjoying our series on our creating movement in fabric art. As you may have guessed by now we here at
Princess YellowBelly Designs believe in the power of movement. We believe that scenes on a quilt or fabric
art panel should move in order to move the viewer. This is the entire basis of creating
emotional, artistic fabric art.
In my first article I talked about that principle, and how to understand the theory behind creating movement.
In my second article I talked about how to use your largest medium, fabric, to its best possible advantage. How to mix darks and lights, create shadows, flow, temperatures, etc.
Now we’re on to the last two major mediums: thread and accessories.
The right mix of fabric, thread, and accessories creates a magical story
Plus
I’ve tossed in a few other back-up singers into your fabric art movement choir
so you can create solid pieces of art all the time.
Creating Movement with Thread
Believe
it or not thread creates movement. We’re
talking about here are your topstitching, quilting, and appliqueing threads –
not the thread you use to sew your seams together. Seaming thread should be beige, 95.5% of the
time.
So
– which thread do you use to do your highlighting, quilting, or
appliqueing? Once again, the answer lies
in what you’re hoping to achieve.
Intent Makes all The Difference –
Once Again
If
you’ve read the first two article on this you know that in order to create art
you need a clear vision in mind. If you’re
at the part of your project where you’re quilting or topstitching, then you
should already have developed a very beautiful and moving project.
And making the right thread choice is usually pretty easy by this stage.
Your fabric art panel will already have specific themes, colors, and moods well developed. And you just need to make some smart choices when choosing which thread to finish the project.
Threads are great at adding a little sparkle or enhancing a certain mood.
Depending
upon the project you can use many threads, or only one or two. Just be aware that the larger and more
complex your piece is, the more you’ll be changing threads while quilting,
appliqueing, and topstitching.
Collecting & Managing Your
Thread Options
As many fabrics as are available in each and every color under the sun, there are as many different threads. And then we get into the fun threads, such as:
And now (which is my favorite discovery in a while) glow-in-the-dark thread!
I used to have a few loose spools of thread rolling around in a basket, but as I got more and more into fabric art I found I needed more and more thread colors.
Finally I found a discounted deal on an entire set of quilting thread by Aurofil.
They
came in their own plastic container with small spools on one side and large
spools in the other. Each ‘color’ has
approximately 5 shades and I have used these over and over and over.
I’ve
had this set for about 7 years now, and am just starting to use up some of the
more popular spools. If this set doesn’t
have what I need, I go to my specialty thread box. Naturally this is where you’ll find all the
fun threads.
When I’m considering my top-stitching choices I always take a cruise through these boxes and only if there isn’t anything that will work, do I go to the quilt store for something new.
For
instance, I used lavender thread for my bobbin when I was stitching my ‘Ocean
Maidens’ quilt because my backing fabric was a mottled lavender, grey, green
and blue. I completely used up 4
left-over spools of lavender thread and started a 5th before I
finished.
Note: Even though each of these spools was a slightly
different shade of lavender, no one will ever be able to tell, and now I have
more room in my thread boxes.
Making the Fateful Choice
Now, looking at the options for doing the highlighting and everything for your quilt – these should be your considerations:
Mood
When we were debating thread choices for the Ocean Maiden, Suzanna decided that since mermaids are magical creatures, we needed a magical effect.
To her that meant metallic thread in all its variations, heavy on the silver.
Just between us I got tired of all the thread changes, but she was absolutely right – the end result is shimmery, magical, and adds to the mystery and intrigue of the mermaid.
Popping
If
you want a certain design element to simply ‘pop off’ your panel, then use a
highly contrasting thread color and stitch it heavily.
This
is usually something like a satin stitch.
The wider you make the satin stitch, the more pop it has. This is especially true with variegated thread because the different colors really show up well in this application.
This
is also a good technique for metallic thread.
In
judicious amounts. A little sparkle goes
a long way, especially in a satin stitch, so I typically us a narrow satin
stitch with metallic. Also metallic
thread does tend to strip and break more than other threads, so you’ve got to
decide how much you want to fool with it.
Sparkling
I
like to use metallic threads in autumn panels because the bronze and gold go so
well with autumn themed fabrics. Also if
the sun (gold thread) “shines” on the panel it just lights up.
I also like to use silver or gold in projects of a Christmassy nature.
And,
like I said, I used a huge amount of silver and lavender
metallic thread on my mermaid quilt.
Try
to keep a balance with sparkle thread though – a little bling goes a long
way. Notice how your eye is drawn to the
mermaid tails first – you only notice the rest of her second, and that’s how it
should be.
Highlighting
When I want to highlight something I will use a bold color choice – often black – but stitch it with a straight stitch or an open zig-zag. This will draw the eye eventually, but not grab the lion’s share of attention and that’s what highlighting is all about.
Blending
If you want something to just lay there and be quiet, use a color that matches your element and stitch it either with a straight or blanket stitch. Your eye will pass right over it while your brain registers only the movement – and that’s where your movement comes from!
I use beige to top-stitch backgrounds.
How to Use Accessories to Create
Movement in Fabric Art
I’ve actually already covered this topic in depth because I love to accessorize so much. So please check out my Bling Blog for ideas on accessorizing your fabric art.
What I just want to point out here is how to use these accessories to move the eye across your project.
In
my Coral Reef Panel, I used long thin, orange-ish leaves that I found in an
autumn arrangement at Walmart. I pulled
the wire off of the back and then used them to represent sea grass.
When
you look at this panel, your eye sees these and follows them along, and this
creates directional movement.
Anything
that will make your eyes track from one point to the next creates
movement.
I also create this effect by:
Sewing buttons or beads on a line
Ribbons that lead from one element to the next
Crystals that draw the eye to certain elements (I do this for eyes and flower centers)
And in the Ocean Maiden I’m using bubbles to finalize the illusion of movement
Give
your imagination free reign when you’re thinking about what accessories will
enhance your projects. And keep an open
mind when you’re wandering the aisles of stores looking for inspiration.
Accessories
are actually one of the few elements I recommend purchasing on a whim. Especially if you shop at antique and thrift
stores like I do a certain decorative element will probably be gone the next
time, and you’ll never see its kind again.
The Most Customizable Accessory – Appliques
This is a French word – you should be able to tell by its weird spelling – for any extra shape that you sew onto the front of your project.
One of my favorite custom-made appliques…ever!
You
can buy embroidery appliques in the sewing section of most stores. They are quick and easy to sew on, but
they’re not terribly unique or lifelike.
If you want anything realistic looking you have to do it yourself.
What
I want to emphasize here is that appliques are one of the most powerful elements
you can incorporate into your projects to create movement.
All
of the appliqued mermaids in my Ocean Maidens quilt help to keep the eye
moving, especially since each one is a different color and shape – sort of- and
they’re all engaged in different activities.
When
you add an applique it’s like a spotlight has been shone on it – everyone
notices it instantly.
Bonus! Back-Up Singers in Your Fabric Art Choir
Wow! I can’t believe we’re almost done with one of
my favorite subjects in the whole world.
Still, while we’ve covered the three major mediums that can be used to create movement in fabric art, there are a few more hidden elements that you can take advantage of to increase the impact of your project.
Batting
You can read my blog on batting for all the different choices you have in this area. In short form, your batting choice will help you to emphasize certain elements of your fabric art. There are a multitude of techniques and batting types you can choose, so I definitely recommend giving the whole article a read!
Foam
Think thicker, more emphatic batting. I also have a foam blog, so just hop on over there and read it.
Background Quilting Techniques
I estimate that for about 80% of all my project backgrounds I sew a simple free-motion stipple pattern when I quilt. It’s fast, easy and does a super job of holding everything together. You don’t need a pattern; stippling is simply sewing swoops, lines, and squiggles all over your background without sewing over a previous line of stitching.
Just
think of it like dropping a long piece of string onto your project and
following along it as it curls and dips.
You
can also do spreading ripples, sunrays, and feathers as quilting on your
background without a great deal of trouble if you’ve got a free-motion quilting
feature on your machine.
Specialty Quilting Patterns
When I want a specific shape to quilt onto my background I use one of my plastic quilting templates and use either my chalk ponce or an erasable pen to trace out the pattern. I did this on my Cassidy Rose quilt and my Starburst quilt.
Sometimes,
as in my Camel Panel, I use a cookie cutter for the shape I want. A specific shape quilted onto your
background, draws the eye (creating movement) and also helps the background to
become an integral part of the story – rather than just lying there.
In
the Ocean Maiden quilt, I used metallic thread to quilt in rows of a ‘loose’
feather shape to look like waves on my ‘Mermaid Sea” border.
Always
think carefully about what you want your background/borders to say or do and
then quilt accordingly.
Your
fabric art is as unique, beautiful, and vibrant as you are yourself. And the results you can achieve are limited
only by your imagination – and the number of times your thread breaks. I hope you enjoyed this series on creating
movement in fabric art.
Next week we’ll be back with another great topic.
In
the meantime, please consider signing up for our FREE newsletter. It’ll help you stay up-to-date on what’s
going on in the world of Princess YellowBelly Designs.
You
can also email us with specific questions or comments at karyl@pybdesigns.com. Until next time, all our best!
Welcome
back to our blog series on creating movement with fabric art. Last week we talked about the principles of
creating motion in fabric art. We also
talked about why we have to have movement in order for it to be fabric art (as
opposed to a traditional quilt).
I
hope that I’ve been helpful in opening your eyes to one of my favorite things.
And
I also hope that you’re feeling encouraged and excited about starting to create
movement with fabric art.
As I mentioned in my last blog, there are three necessary elements to create movement – fabric, thread, and accessories. With those three simple, beautiful items, you can make any item flow, move, and bewitch the eye.
These fabrics are your canvas, your brushes, and your paints. Enjoy!
This week, I want to talk about using the biggest of those three mediums: fabric.
Creating Movement with Fabric
This is the biggest choice you have to make for any project – because it’s the biggest part. It also sets the tone:
Dark and broody…
Light and sunny…
Day or night…
What century…
Fun and whimsical…
Beautiful and inspirational…
Etc.
Creating Movement with Fabric – Colors
Color choice is everything in fabric art.
This goes for your thread and accessories as well, of course, but the fabric is the determining factor – always.
Movement in fabric is dictated by:
The colors you use
The way you move between them – think of a rainbow
And the patterns printed on the fabric itself.
When you go to a quilt store you will see whole shelves of the same color – like green – in 50 different shades and patterns. And any one of those shades and shapes of green could be right in the right project.
You have to make the right choice. Here’s the easiest way to do it.
Lay
out your choices on the cutting table next to each other, stand back and look
carefully at how they go together.
If
you want to draw the eye subtly and gently, use different shades of the same
color scheme from light to dark.
If
you want to accomplish a visual punch to the brain, use bright, highly
contrasting colors.
However, even a visual punch – such as a Bargello pattern – employs light-to-dark shades of the same color scheme to achieve its effect. For my ‘Bargello Strawberry’ table topper we used 5 different shades of red from light to dark.
The
varying shades were very distinctive when we laid them out side by side at the
quilt store, but when they were sewn into 1” squares it became very hard to
tell them apart. What you see is a strawberry
that moves from light-to-dark so subtly that it appears mottled – exactly like
a real one.
Take
the time – or make the time – to think about the effect you want from your
finished project.
If
you make a mistake in a color combination, you will usually be able to see it
very quickly – as I did when I used blue in my wedding ring quilt. The first set that I put together just
screamed at me, so I tore it apart and chose a different fabric.
Consider Shadows in Your Fabric Choices
We often don’t think about shadows in real life. But shadows are the very definition of what we see. Shadows:
Give depth to color
Layers to scenery
And impact to moments
Most importantly, shadows create 3-D effects that enhances your background, makes the visual much more realistic, and adds a great deal of interest. Shadows should be added whenever you want to make something appear deeper or to show the way the light is moving.
If you’re creating a stone wall, for instance, and using a grey mottled fabric for the stones, then you need to deepen the scene. You can do this by adding fabric strips of either darker grey or black strips. This will create the 3-D effect you need.
Experiment with the width of the “shadow” so that you achieve the right effect without overwhelming the main element.
Another
way to achieve shadows with fabrics is to use a darker shade in a strip-pieced pattern. I especially like to do this with crazy
quilts, strip quilts, and pinwheels.
I also like to look at photographs and then try to model my shadow effects after them.
Pay Attention to Design and Pattern
The
other way to create movement with fabric is to use fabric printed with many
different designs.
Having
just finished my ‘Ocean Maidens’ quilt, I’ve spent a lot of time gazing at
fabric with swirls (waves), bubbles (water), dots (floaty organic material),
and leaves (ocean flora and fauna).
The entire quilt appears to move, especially as we moved the fabric from light through dark to simulate the ocean from top to bottom.
If
I had chosen the exact same color scheme but in plain fabrics only, my ‘ocean’
would just lay there, boring and dead. So
always plan ahead and know what effect you want to achieve before you lay out
one cent or make your first cut.
How to Save Money & Avoide Mistakes
As always, I’ve got a few items on my “don’t” list, as well. Knowing what not to do, what not to choose, and why not will go a long way in saving you time and money.
“Don’t” Tip #1
Unless
you absolutely have to, don’t buy plain fabric.
You’ll really maximize your moneys’ worth by purchasing multi-colored fabric or fabric that is printed with a design in the same color scheme.
The
multi-colored fabric allows you to bring in any other color that’s also printed
on the main fabric. If you have a
gold-based fabric with green & orange swirls on it, then you can bring in
green and orange fabrics and they will all run together – which is the exact
subtle effect we’re looking for.
Fabric
that is printed with a design – such as bubbles – will often use the same color
scheme from light-to-dark, which allows you to bring in each of these
shades. This simple trick moves color
through your project and moves your eyes to follow it, thus creating movement
with fabric.
Simple!
“Don’t” Tip #2
Try
not to buy on a whim, ever. If you’re
super-attracted to a fabric, chances are you already have something similar.
Always
go through your stash before you head for the quilt store to buy fabric for a
new project.
If your stash is anything like mine, you can often find all the fabrics you need right at home without investing a cent. Remember, most of the time you’ll only be using a quarter yard of any one color in any project – if that – so you don’t need an entire building to stash your stash.
If
you don’t have the exact right color:
Take your project and the fabrics you have already
chosen from your stash to the quilt store
Mix and match carefully
Buy only what you need.
You’ll save a lot
of money this way and keep your stash under control at the same time.
“Don’t” Tip #3
Don’t
allow yourself to be bullied into fabric choices that you loathe just because
it’s what’s hip or modern. Or even if it’s
called for in the pattern.
Personally,
I have to love the colors of the fabric I’m working with or my dislike shows in
the finished piece. Besides that, I get
no joy out of creating it and life is way too short to spend time on things
that you don’t like.
I
absolutely loathe the ‘modern’ color combination of pale, washed out teal and
that anemic brown you see everywhere and I refuse to spend one cent in buying
those color schemes.
As I’ve said before, autumn is my favorite season so I have a great many of those fabrics in my stash. I also love the jewel tones of purple, turquoise and jade – so I have a lot of that.
Different colors – whole new art set
It’s
amazing how many different places you can use these colors.
And
often patterns, even traditional patterns, don’t need to have the exact
fabrics.
When I did my one and only Jinny Beyer quilt I used the fabric supplied in the kit – because I loved those colors. Later I saw a quilt at the quilt store that used shades of purple, green, and turquoise instead of pinks, reds, and purples.
The effect was, and almost always is, equally stunning.
These are the exact same pattern, a Princess YellowBelly original, but the colors are totally different…
However
you go about creating movement with fabric, remember, it’s about the
story. You don’t want your quilt to sit
there. You want it to move people
through the context, to fold in light and shadow, emotion and love.
Next
week we’ll finish out this blog series by talking about the other two mediums
used in creating movement with fabric art; thread and accessories.
Until
then, please consider signing up for our newsletter. It’s quick, easy, and FREE! You’ll receive tips, best products, some
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