Red Poppy of Flanders pattern - Deborah Wirsu: Textile Artist

Transcription

Deborah Wirsu - Textile Artist
red poppy of flanders
a freestyle stained glass appliqué
wall quilt or cushion cover design
SKU-P010
a design by deborah wirsu designs
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pattern for freestyle stained glass appliqué quilt
full sized pattern sheet & reverse image
finished size: 14” x 14”
level: confident beginner to intermediate
PRINT THIS PATTERN AT 100% SIZE - DO NOT SCALE
© Deborah Wirsu, 2015 - www.deborahwirsu.com
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a freestyle stained glass appliqué
wall quilt or cushion cover design
Pattern for Freestyle Stained Glass Appliqué Wall Quilt
by Deborah Wirsu, Textile Artist and Educator
www.deborahwirsu.com
The ‘Flanders’ Poppy, (which bears the scientific name Papaver rhoeas) is also known
as the Common Poppy, Corn Poppy, Field Poppy and Red Poppy, amongst others! It
has come to be referred to often as the Flanders Poppy due to its symbolism of
remembrance following World War I.
Whatever name you choose to give it, there is no doubting that it is a magnificent
flower. Seeing fields of these delightfully bright red blooms bending in the breeze
is truly a delight.
The red poppy is a popular subject for artists of all kinds, whether working with
paint, fabric or mixed media.
Freestyle Stained Glass Appliqué Technique
This quilt is constructed using a freestyle stained glass technique - a technique
that has simplicity and versatility. The approach is a little different to conventional
stained glass quilting, which uses bias tape to separate the ‘glass’ segments of the
design, but is an approach gaining popularity.
It is a quick and easy method to master and each quilt has a creative look that is artful
and reflects the individuality of the quilter. Rather than use bias tape to separate the
appliqué sections of the design, you have the freedom to manipulate the edges of the
design pieces as you please, creating a wonderful, painterly look.
Freestyle Stained Glass Appliqué Technique incorporates some easy, basic principles:
• A background (base) fabric, usually in a solid colour
• Hand-dyed or Batik fabrics create a wonderful, natural look, or use commercial
prints for a collaged look
• Quilt using free motion and thread sketching techniques to create design detail
and texture.
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The top of the Red Poppy of Flanders wall quilt in the cover photo has been constructed
by fusing the main appliqué pieces before enhancing with sheer fabrics to give the image
greater depth and interest. The quilt can also be successfully made without the addition
of the sheer fabrics.
N.B. The pattern can be enlarged if you prefer a bigger quilt, or could be used to
create an attractive cushion cover.
MATERIALS
• Commercial fabrics (eg Batiks) or hand-dyed fabrics in 100% cotton (prints may also
be used). To make the pattern as shown on the cover:
• Fat ¼ solid black, or other dark colour such as navy blue, dark grey, etc appliqué background
• Fat ¼ bright red - petals
• Fat ⅛ darker red - petals
• Fat ⅛ pink - petals
• Small piece (approx 10” x 7”) green, mottled or variegated - leafy background
• Scrap (approx 5” x 5”) black - central flower area (if using black background
fabric, this piece can be omitted).
• Small scrap dark grey or mottled black for ‘eye’ of flower
• Optional - organza in red, darker red and silver grey,
17” x 17” square lightweight black tulle
• ¾ yard (metre) black (or colour of your choice) for quilt backing and
facing/binding and hanging sleeve (if desired)
Alternatively, use a colour scheme of your choice.
• 17” x 17” square wadding
• ½ yard (metre) fusible web
• Chalk transfer paper, Transdoodle or Dressmakers carbon paper in a light colour
(e.g. white or yellow)
• Threads - two shades of red, plus pink, and black or dark grey. (The sample quilt was
made with 40 weight rayon thread)
• Sewing supplies:
• Rotary cutter, mat and quilt ruler
• Scissors
• Pencil
• Adhesive tape
• Sewing machine with free motion foot
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CONSTRUCTION
Pattern pieces
1.
2.
Print all the pattern pieces (6 pages), making sure that they print at
100% size. Many printers automatically resize documents for printing, generally
making the print area smaller, so be sure to change print size to 100% if necessary.
The pattern is designed to print on either A4 size or US Letter size printer paper.
Assemble your pattern by aligning the 6 pages along the dotted lines. Check that the
design lines on the pattern meet up correctly. The image below shows how your
pattern should look once you have aligned and taped the pages.
A
B
C
D
E
F
Red Poppy of Flanders Pattern Pieces
3.
© Deborah Wirsu 2015
Repeat this process with the Reverse Image Pattern pieces, again making sure you
have printed the 6 pages at 100% size. Printing and assembling the reverse image
avoids having to make a tracing of the image in reverse, saving you time! Here is
how the Reverse Image sheet should look like this once you have aligned and taped
the pages.
REVERSE IMAGE
C
REVERSE IMAGE
F
REVERSE IMAGE
REVERSE IMAGE
© Deborah Wirsu 2015
B
E
A
REVERSE IMAGE
D
REVERSE IMAGE
Red Poppy of Flanders Pattern Pieces
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Background
4.
5.
6.
7.
Using the background (base) fabric (not the quilt backing fabric), and your rotary cutter
and quilt ruler, cut a 17” x 17” square.
Make a layered stack of your background fabric (right side up), the chalk transfer paper
or dressmakers carbon (chalk side down) and your master pattern (right side up).
With the stack on a firm surface, trace over the design, making sure you use sufficient
pressure to transfer the design onto your background fabric.
Tip: Pin the stack together to prevent movement of the layers while you trace the design.
Pin your background fabric with the chalk outline to your design wall, if you have one
that can be ironed onto directly, or place it on a table that has been covered with a thick
pad of heat-resistant fabric. Folded woolen blankets, cotton bed sheets, or a thick pad of
wool or cotton quilt wadding are effective for this. You want this layer to be thick enough
to push pins into, and resistant to heat, as you will be fusing the appliqué directly onto
the background fabric before removing the quilt top from the design wall.
Preparing and fusing the appliqué
Tip: It’s useful at this stage to number all the pattern pieces, or label them according to your
intended colour choices. This makes it easier to select the correct pieces when beginning to
fuse the fabric to the fusible web. Refer to the colour diagram of the design at the end of this
pattern to see how the light and dark shades of red are placed in the cover photo quilt.
(The colours are a bit exaggerated in the diagram, to make it easier to interpret).
8.
9.
10.
11.
12.
Pin the fusibile web over the Reverse Image pattern.
The rough (sticky) side of the fusible web should be against the pattern sheet, so that you
draw on the smooth, paper side.
Trace the whole (reversed) design onto the paper side of the fusible web.
Using the main picture (or diagram) from this pattern as reference, select the fabrics you
wish to use for:
• bright red petals
• dark red petals
• pink petals
• black and grey area
• green leafy background
Working on one element or colour at a time, cut out all the pattern pieces from the
fusible web to match each element - i.e. red petals, dark red petals, etc.
Iron each piece of fusible web onto the back of the appropriate fabric.
Tip: Hand-dyed fabric and Batiks often have considerable variation in colour intensity,
pattern, or mottling. It is useful to select appropriate areas of the fabric when placing
the fusible web. This can really enhance the finished quilt.
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13.
Cut out each fused fabric piece, cutting a little inside the line. Don’t try to cut all the
lines evenly - you want the spacing between the ‘stained glass’ pieces to be a little uneven,
as this creates a more painterly effect. There is no ‘right’ or ‘wrong’ here - cut the pieces
as evenly or unevenly as you like, but it’s a good idea to keep your cutting lines fairly
smooth.
14.
As each pattern segment is cut, pin it to the backing fabric on the design board, placing
it in the appropriate place on your traced design. Do not peel off the paper backing at
this point. Leaving it attached makes it easier to alter your cut edges later if you want
more space between pattern pieces.
Tip: Pushing the pins vertically into the design wall (or fabric pad) holds the pieces in place
while you assess your colour choices.
15.
When all the appliqué pieces are pinned in position, this is the time to stand back and
assess the look of your quilt top. If there are any fabrics that you feel are ‘wrong’ then
now is the time to change them! Simply make another copy of that segment onto
fusible web, fuse to a new piece of fabric, and replace on the design wall.
This is also the time to trim the pieces more here or there, if there is not enough
background fabric showing to create the ‘stained glass’ look, or if you want a more even
(or uneven) line between pieces.
16.
Once you are happy with the look of your quilt top, remove each piece, one at a time,
peel off the paper backing, and replace on the design wall. Once again, push pins
vertically to hold the pieces in position.
17.
Make a final assessment and, using a warm, dry iron, fuse each piece onto the
background fabric, removing the pins as you go.
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18.
19.
20.
Cut:
• 17” x 17” square of quilt backing fabric
• 17” x 17” square of wadding
Make a quilt sandwich with the backing, wadding and fused quilt top.
Optional: Place the fused quilt top onto a horizontal (e.g. table top) padded
surface. Using the red and dark red sheer fabrics, free-cut pieces to highlight
different areas or aspects of the flower. Looking at the cover photo on this pattern,
you can see the outline of some of the sheers. Notice that they do not exactly match
the appliqué piece underneath, and sometimes cross over between appliqué pieces.
As you now have the quilt top laid out on a horizontal surface, there is no need to pin
the sheer fabrics in position at this stage - but take care that they do not move or slip
around while you arrange them to your liking.
Now lay your 17” x 17” piece of black tulle, over the entire quilt top and pin or tack
securely through all layers of top, wadding and backing.
21.
Using the free motion foot on your machine, free motion stitch the quilt as desired.
It is helpful to begin in the centre of the quilt and work outwards, to minimise the risk
of puckering. Depending on your choice of quilting stitch, you may or may not need
to stitch around the edges of some of the larger segments.
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Crossing between segments can be handled by either lifting the needle and ‘hopping’
across, cutting off the linking threads later, or by stitching right across the gap, ‘colouring
in’ the crossing stitches with a black marker (or one that matches the colour of your
background fabric).
If you have elected to layer the quilt with sheer fabrics, then your quilting stitches can
cross freely between one underlying appliqué piece and the next. In the sample quilt,
this has been done in some places and in not in others - it’s really up to you! Keep on
quilting until you have achieved the look you want.
22.
Press your quilt lightly, square it up, trim and add a border or bind with a ‘blind’ facing,
if preferred. Add a hanging sleeve, if desired.
Your beautiful freestyle stained-glass poppy quilt is now complete!
© Copyright Deborah Wirsu 2015
This pattern is sold and distributed by Deborah Wirsu as a digital or physical
product, in good faith that it will not be reproduced in any way. The pattern
is for personal use only and should not be copied for friends, or used as a
teaching tool without permission.
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MASTER PATTERN
PRINT THIS PAGE AT 100% SIZE - DO NOT SCALE
TEST PRINT
SQUARE
1” x 1”
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REVERSE IMAGE PATTERN
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Red Poppy of Flanders pattern - Deborah Wirsu: Textile Artist

Transcription

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